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Libraries,  Storrs 


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en 

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Ln 


EXERCISES 


IN 


MELODY  -  WRITING 


A.    SYSTEMATIC     COURSE     OF     MELODIC     COMPOSITION,    DESIGNED 

FOR    THE     USE     OF     YOUNG     MUSIC     STUDENTS, 

CHIEFLY    AS    A    COURSE   OF    EXERCISE   COLLATERAL   WITH 

THE    STUDY     OF     HARMONY 


BV 

PERCY    GOETSCHIUS,    Mus.   Doc. 

{l(oyal  IViirtemberg  Professor) 

Author  of 

"The  Material  Used  in  Musical  Composition" 
"  The  Theory  and  Practice  of  Tone-Relations  ' 
"The  Homophonic  Forms  of  Musical  Composition" 
"Models  of  the  Principal  Musical  Forms,"  etc. 


New  York: 

G.     SCHIRMER 

1903 


COOKSON  MUSIC  UBHAW 

UNIVERSITY  OF  CONNECTiCUf 

STORRS.  CONNECTICUT 


n  s    ^ 

e_ 

/Vi'r/'c 

/IT 

11.  ■^ 

OrS^ 

Copyright,  1900,  by  G.  Schirmer 


15209 


This  Book  is  a  gift 
from 

i-lr  s .  F .  S .  V'/a r d we  1 1 


/ 


(ii) 


PREFACE 


The  object  of  this  course  of  musical  discipHne  is,  to  assist  the  young 
student  (whether  or  not  lie  expects  to  become  a  composer)  to  form  and  to 
cultivate  habits  of  correct  melodic  thought. 

It  is  simply  a  carefully  graded  course  of  exercise  in  melody-invention, — not 
conception.  The  agencies  which  conduce  to  the  transition  from  the  former 
into  the  latter  are  touched  upon  in  paragraphs  125  to  129,  which  maybe  briefly 
scanned,  here,  without  harm. 

The  reasons  for  urging  such  a  course  of  technical  practice  upon  students 
of  music  (general,  as  well  as  special  students)  are  two-fold: 

1st,  because  the  prime  object  of  all  theoretical  study  in  tniisic  is,  or  should 
■be,  melody.  A  thorough  apprehension  of  the  conditions  of  correct  melody, 
and  command  of  its  natural  laws,  pave  the  way  to  the  full  and  easy  reception 
of  all  other  phases  of  discipline  in  music;  they  are  the  only  natural  preparation 
for  successful  studies  in  sight-reading,  harmony,  counterpoint,  form,  instru- 
mentation and  interpretation. 

2nd,  because  all  musical  practice,  productive  or  reproductive,  in  common 
with  all  other  operations  of  mind  and  body,  is  the  result  of  habit,  and  is  there- 
fore qualified  exactly  according  to  the  quality  and  energy  of  the  habits  which 
have  been  contracted,  by  accident  or  intention,  in  early  life.  The  effort  to  con- 
trol the  formation  of  these  habits,  and  guide  them  as  early  as  possible  into 
proper  channels,  is  therefore  obviously  the  most  valuable  that  a  wise  educa- 
tional purpose  can  induce. 

Whether  there  are  laws  governing  melodic  conduct,  or  not,  is  a  question 
to  which  an  answer  will  be  found  in  the  book  itself. 

(ih) 


PREFACE. 


II. 


It  is  to  be  inferred  from  the  above,  that  the  best  results  will  be  gained  by 
beginning  this  course  of  exercise  early  in  life.  Not,  however,  as  a  rule,  before 
the  twelfth  or  thirteenth  year. 

It  may  be  pursued  before  Harmony  is  taken  up,  or  entirely  independent 
of  the  latter.  Rut  it  will  probably  prove  most  efficient  as  collateral  study, 
interlined  between  the  exercises  of  aiiy  standard  text-book  on  Hartnotiy  ;  either 
from  the  beginning,  or  in  the  later  course  of  harmonic  study;  in  regular  alter- 
nation with  chapters  of  the  latter,  or  interlined  strictly  according  to  subjects. 

The  degree  of  benefit  to  be  derived,  is  manifestly  proportionate  to  the 
degree  of  thoroughness  with  which  each  lesson  is  exercised, — precisely  as  pro- 
ficiency in  scales  or  any  other  item  of  pianoforte  technique  depends  upon  the 
number  of  times  each  movement  is  thoughtfully  repeated.  It  is  a  system  of 
drill,  which  must  be  persisted  in  until  its  sam,  — the  fixing  of  habits,~{s. 
achieved.      For  this  reason,  the  course  should  cover  a  full  year. 

The  musical  illustrations  have  been  made  unusually  copious,  because  this 
particular  phase  of  musical  education  is  likely  to  be  absorbed  by  the  pupil 
quite  as  readily  through  sensuous  contact  with  melodic  sounds,  as  by  mental 
induction.  Therefore,  they  are  to  be  studied  as  faithfully  as  the  text,  both  aty 
and  away  fro7n,  the  key-board. 

Percy  Goetschius,  Mus.  Doc. 


Boston,  Mass. 

September,  1899. 


EXERCISES  IN  MELODY-WRITING. 


DIVISION    ONE. 
ESSENTIAL    TONES. 


CHAPTER    I. 
MAJOE.      THE   SCALE-LINE,   EEGULAB. 

1.  Any  series  of  single  tones  is  a  Melody.  The  quality  of  the  melody 
depends  upon  the  choice  and  duration  of  each  successive  tone.  The  general 
conditions  of  good  melody  are: 

Coherency,  throughout  each  chain  of  three  or  four 

successive  tones; 
Unity,  in  the  design  and  effect  of  the  complete 

melodic  sentence;  and 
Interesting  movements,  exhibiting  sufficient  variety 

to  banish  every  trace  of  monotony. 

2.  The  choice  of  successive  tones  (aside  from  the  question  of  durations) 
is  subject,  fundamentally,  to  two  Primary  Rules  of  melodic  movement. 

FrRST  Primaey  Rule. 

3.  A  melody  may  follow  the  line  of  the 

MAJOR    SCALE, 

upward  or  doivnward,  with  almost 
unlimited  freedom. 

This  yields  the  smooth  species  of  movement  called  diatonic,  conjunct, 
or  step-wise  progression. 

5 


EXERCISES   IN   MEIiODY-W'EITING. 


4.  Step-wise  progressions  are  regular,  and  consequently  invariably  per- 
missible, when  they  confirm  the  natural  or  ijiherent  melodic  inclination  of  the 
so-called  Active  scale-steps  (jjar.  6). 

5.  The  seven  steps  of  every  scale  are  divided  into  two  classes: 

The  1st,  3rd  and  5th  scale-steps  (those  which  constitute  the  Tonic 
Triad,  or  harmonic  core  of  the  key,  see  par.  18)  are  Inactive.  They  occupy 
the  centre  of  harmonic  repose,  and  are  therefore  inert,  not  moving  except  in 
obedience  to  some  outward  impulse. 

The  others, — the  7th,  6th,  4th  and  2nd  scale-steps,  are  Active,  because 
they  lie  outside  of  this  circle  of  harmonic  repose,  and  are  urged  by  their 
inherent  impulse  to  regain  the  condition  of  rest.     For  illustration : 


C  major. 


Ex.  1.    - 


y 

JL 

1                                               i?      on     /y 

fZ 

Ott         '<^ 

^ 

OB           ^ 

»J 

13            5 
Inactive  Scale-steps,     (interior) 

Active  Scale-steps. 

6 

(exterior) 

6.  The  direction,  and  the  degree  of  urgency,  of  the  movement  are 
dictated  by  the  location  of  each  Active  scale-step,  and  its  proximity  to  the 
nearest  inactive  or  central  scale-step, — as  follows: 

(a)  The  tendency  is  most  urgent  in  the  7th  scale-step,  and  its  direction 

is  ninvard. 

(b)  The  tendency  is  somewhat  less  urgent  in  the  Gth  step,  and  its  direc- 

tion is  doivnivard. 

(c)  Still  less  urgent  in  the  4:th  step, — tendency  also  downivard. 

(d)  The  inclination  of  the  2nd  scale-step  is  evenly  balanced  between  the 

1st  and  3rd  steps,  from  which  it  is  (practically)  equally  distant. 
For  that  reason  it  need  not  be  considered  in  this  connection. 
For  illustration : 


Ex.  2.  - 


7  6  4  2  =^ 


C  major. 


7  ~^^S^'^ 
exterior   interior 


7.  The  progression  of  an  Active  scale-step  in  the  proper  direction  is 
called  its  Resolution. 

General  illustrations: 


Ex.  3.  - 


ii 


3.    6 


^1^^^^^ 


3.  7  6  4  4.-4 


es 


^^ 


etc. 


EXERCISES  IN   MELODY-WKITING. 
(par.  91}.) 


Beethoven. 


■".  Allegro. 


Brahms. 


^ffrc — '5'- 


:^E 


:^=^: 


-*-^"*-a^ 


Mendelssohn. 


J ! iZ , ^L-TI* « 0 — »«i^« — - 


9.  Moderato. 


»^ — azz=^ — ^^iL: I 


2e=f^ 


-• t^T^*- 


Mendelssohn. 


=]=t; 


=1= 


i 


H- 


• — « — ]'&- 


i  6  4 

See  also,  Ex.  5;  Ex.  18,  No.  3;  Ex.  36,  No.  12;  Ex.  50. 


THE    4r-MEASUEE    PHEASE. 

8.  The  smallest  complete  melodic  sentence,  called  the  Phrase,  gen- 
erally embraces  four  ordinary  measures. 

fa)  When  regular,  it  begins  with  one  of  the  (inactive)  tones  which  con- 
stitute the  Tonic  Triad.  These  may  be  jjlaced  upon  the  first  (accented) 
beat  of  the  first  measure;  or  one,  perhaps  more,  beats  before  the  first  full 
measure.  If  the  Phrase  begins,  thus,  with  one  or  more  j^reliminary  tones^ 
their  value  is  to  be  subtracted  from  the  final  measure. 

(b)  The  Phrase  closes  with  the  Tonic  (i.  e. ,  the  key-note) ;  upon  an 
accented  beat  of  the  fourth  measure  (upon  either  accent,  if  a  compound 
measure)  ;  and  preceded  by  either  of  the  three  tones  which  constitute 
the  Dominant  Triad  (see  par.  19).  This  ending  is  called  the  Perfect 
Cadence. 


EXKRCISE3   IN   MELODY-WKHTNG. 


Thus  (in  C-major) : 

1.  Triple  rbythni. 

Accented  hetjinning. 


Ex.4. 


(either) 


5K^ 


TTnaccented  beginning. 


(either) 


I* 


2.  Dnple  rhythm. 


'£: 


:^e= 


E^EES^EE 


(«-)- 


eB 


*  These  chord-names  are  explained  in  Chap.  Ill,  par.  18,  19. 

9.  Besides  the  step-wise  progressions,  up  or  down  the  line  of  the 
major  scale  according  to  the  first  Primary  Rule,  it  is  everywhere  per- 
missible 

(a)  To  repeat  a  tone,  once  or  oftener.     For  example: 
Moderate. 


Ex.5. 


•  rep. 


£ 


-ff*K 


:t=t: 


zc: 


m 


7 
Caret. 


4:=t: 


-#-!- 


;ii 


:e=t: 


rep rep etc. 

See  also  Ex.  3,  Nos.  5  and  6;  Ex.  32,  No.  3;  Ex.  36,  Nos.  1,  8,  9;  Ex.  54. 

(b)  To  progress  upward  or  downward  by  the  interval  of  a  iliird,  i.  e., 
overleaping  one  diatonic  scale-step.  If  this  skijj  of  a  third  is  made  from  an 
Inactive  tone,  it  involves  no  obligation  whatever.  If  made  from  an  Active 
scale-step  (namely,  from  the  7th,  6th  or  4th, — as  stated  in  par.  Qd,  the  2nd 
scale-step  is  not  subject  to  any  of  the  rules  of  active  steps),  the  consequences 
depend  upon  the  direction  of  the  leap.  No  subsequent  consideration  is 
necessary  if  the  melody  makes  the  leap  in  the  ])roper  direction  (from  the 
7th  scale-stop  upward,  from  the  6th  or  4th  step  downward,  as  is  to  be 
done  in  th^  ju-rsent  lesson).    For  illustration: 


A.   From  Inactive  tones. 


Ex.6. 


^3±j^y^Eg 


"n=T 


EXEECISES  IN   MELODY-WKITING. 
B.    From  Active  tones,  in  the  proper  direction 


1%^ 


■Hii^* « U 


=1= 


=1: 


=1: 


(par.  38  b.) 


LESSON    1. 

A  number  of  original  melodies  (at  least  one  in  each  key),  with  strict 
regard  to  the  following  limitations  and  directions : 

(1)  Only  in  major  keys. 

(2)  Without  modulations,— i.  e.,  each  melody  in  one  key  throughout. 

(3)  As  i-measure  Phrases,  according  to  the  models  of  Ex.  4. 

[i)  In  2/2,  2/4,  3/2,  3/4,  3/8,  4/4,  4/8,  6/8,  and  6/4-measure,  successively. 

(5)  The  rhythm  strictly  uniform,  i.  e. ,  one  tone  to  each  beat,  as  P,  f  or 
!*,  according  to  the  chosen  measure, —  excepting  the  final  cadence-tone 
(see  Ex.  4). 

(6)  The  scale-line,  tone-rei^etitions,  and  an  occasional  skij)  of  a  third 
are  to  be  employed.  Of  the  latter,  only  one  at  a  time  (perhajas  returning, 
as  shown  in  Ex,  6), — not  two  successive  leaps  in  the  same  direction. 

(7)  No  violation  of  the  natural  tendency  of  Active  scale-steps  is  per- 
mitted in  this  lesson.  Each  is  to  move  in  the  proper  direction.  Examples 
2  and  6&. 

Note. — The  work  should  be,  at  present,  merely  the  mrchanical  application  of  the  jriven 
rules;  tliese  rules  are  to  become  habitf, — formed  and  established,  as  habits  are,  by  persistent 
systematic  effort.  After  legular,  correct  n)elo<lic  movement  has  become  a  habit  of  thought,  the 
tones  will  soon  invest  themselves,  more  or  less  unconsciously,  with  feeling  and  purpose;  and  all 
exceptional  progiessions  will  be  likely  to  rectify  or  justify  themselves. 

At  the  same  time,  the  student  inust  endeavor  to  hear  each  tone  as  he  wiites  it  down,  without 
the  aid  of  an  instrument,  and  must  not  desist  until  he  can  thus  nientallj^  follow,  accurately,  every 
melodic  movement.  Fuither,  each  melody,  when  completed,  must  be  sung,  and  then  tested  at 
the  key-board, — but  not  until  completed ;  the  invention  must  be  prosecuted  away  from  any  in- 
strument. 


10 


EXEBCISES  IN   MELODT-WKITIKG. 


CHAPTER    II. 

THE    SCALE-LINE,   EXCEPTIONAL. 

10.  It  is  always  possible  to  evade  the  Resolution,  i.  e.,  to  connteract 
tlie  natural  tendency,  of  the  three  Active  scale-steps,  and  force  them  to  pro- 
gress in  the  opposite  direction,  by  approaching  them,  along  the  line  of  the 
scale,  in  the  corresponding  (i.  e.,  opposite)  direction.  This  confirms  the 
first  Primary  Rule,  in  its  fullest  sense.     For  example: 


Ex.7. 


~-r- 


a 


^i^i. 


r^Hf 


^ 


All  good. 

i.  Allegro. 
4       5 


^e 


*^*^- 


Beethoven. 
7        6 


->9-mi 


±=t 


I 


3.  Allegro. 


:k: 


ge=i= 


^-- 


-25^. 


>-0—i- 


Beethoven. 
4 


i 


mB= 


E 


4.  Allegretto. 
4 


a^i 


Beethoven. 


1 


SEEgEE3^ 


,.m-tt£ 


-isi- 


:^ 


-^—u 


irreg. 
5.   Allegro. 


irreg.      res 


^te=r=^=^=^g 


tgJL 


MOZART. 


SE^ 


irreg. 
See  also  Ex.  47,  No.  1 ;  Ex.  52,  No.  2. 


irreg. 


11.  If  approached  in  the  direction  of  their  Resolution,  along  the  scale, 
however,  the  natural  inclination  is  reinforced,  and  must  be  fulfilled, — at 
present.     Thus: 


EXERCISES  rN   MELODY-  WKITING. 


11 


Ex.  8.  - 


^m 


?  ?  ? 


good 
4 


?    ?    ? 
4  3 


i: 


^Hj^ J^^i 


i^^H 


good 


good 


*SomeTvhnt  less  objectiouable,  because  the  tendency  of  the  4th  scale-step  is  less  urgent 
than  that  of  tlie  otluT  Active  tones  (par.  6  c). 

In  other  words,  tlie  melody,  in  ijursniug  the  lino  of  the  scale  ^ipwnrd,  may 
tnrn  back  (if  desired)  at  any  jioint  excepting  the  7tli  scale-step;  in  jjursning 
the  line  of  the  scale  doivnward,  it  can  turn  at  any  point  excepting  the  6th 
or  tlrth  stejj. 

13.  As  intimated  in  par.  9  b,  the  skip  of  a  third  may  be  made  in  either 
direction,  even  from  an  Active  scale-step.  An  obligation  is  involved  only 
"tt'hen  the  leap  of  a  third  is  made  contrary  to  the  natnral  tendency  of  the 
Active  tone;  in  which  case  the  melody  must  immediately  turn  Z*ac^-,— either 
by  a  lea]),  to  the  preceding  tone,  or  by  step-wise  j^rogression.  For  illus- 
tration : 


Ex.9. 


Skip  of  3rd  from  Active  tones.  Irregular  (comp.  Ex.  6,  B). 


LESSON    2. 

A  number  of  original  4-measnre  melodies  (at  least  one  in  each  major 
key),  according  to  all  the  directions  of  the  preceding  lesson,  excepting  (7); 
both  the  regular  and  irregular  jorogressions  of  the  Active  scale-steps  are  to 
be  employed.  The  danger  of  monotony,  arising  from  the  uniformity  of 
rhythm,  must  be  counteracted  by  variety  of  tone-succession;  avoid  moving 
about  in  the  narrow  compass  of  the  same  3  or  4  tones,  and,  as  a  rule,  avoid 
returning  too  frequently  to  the  same  tone,  especially  on  corresponding  beats 
of  consecutive  measures. 


12  EXEECISES   IN   MELODY-WKITING. 


CHAPTER    III. 
THE     CHOED-LINE. 

Second  Pkijiaey  Eule. 

13.  A   -melody  niaij  follow    tJie   line   of  any  good 

CHOBD 

iijnvard  or  downtvardf  tvith  almost  unlhn- 
ited  freedom. 

This  yields  the  more  vigorous  species  of  movement  called  disjunct,  or 
by  skip  (or  leap) ;  and  affords  the  necessary  contrast  with  the  step-wise  jiro- 
gressions. 

14.  The  "Scale-line"  may  be  abandoned  for  the  "Chord-line,"  or 
the  chord-line  for  the  scale-line,  at  any  j^oint  in  a  melody, — subject  to  a 
few  self-evident  restrictions. 

15.  The  influence  of  Haemony  (i.  e.,  the  construction,  relation  and 
succession  of  chokds)  vpon  melody-formation  is  so  great  and  constant,  that 
this  is  probably  the  most  vital  of  the  two  Primary  Rules.  Unless  already 
familiar  with  the  elementary  conditions  of  Harmony,  the  pupil  must  study 
the  following  brief  exposition  so  thoroughly,  and  transfer  all  illustrations  to 
every  other  key  so  frequently  and  perseveringly,  as  to  acquire  absolute  free- 
dom in  recognizing  and  employing  the  principal  chord-lines  correctly. 

16.  Tlie  tones  which  constitute  a  chord  are  found  by  adding  one  higher 
3rd  after  another,  to  the  fundamental  tone  which  is  to  be  the  root,  and  the 
index  of  the  chord  (of  its  name,  quality,  and  relation  to  other  chords). 
Thus,  for  the  "chord  of  C": 


Ex,  10. 


i 


¥ 


-3ril tS^- 


-3r(l- 


chord-root,  chord-third,  chord-fifth,    c-e-g. 


These  letters,  c-e-g,  constitute  the  chord  of  c ;  and  they  may  appear  as 
representatives  of  that  chord-line  m  any  order.     Thus: 


Ex.  11. 


-• 

e-g         c-g-e  e-c-g        etc.,  etc. 


EXERCISES   IN   MELODT-WKITINa.  13 

poasible,  bnt  extreme. 


g==j==i=q==£^-H— p-F^==j==-^[(:^=f=E^^  etc. 


FUNDAMENTAL    HAEMONIC    PKINCIPLES. 

17.  Each  key  comisrises  three  classes  or  families  of  chords,  called 
respectively  the 

Tonic  class; 

Dominant  class;  and 

Secoyul-Domi7iant  or  Sub-Dominant  class. 

1 8.  The  Tonic  class  consists  of  two  chords,  one  erected  upon  the  first 
scale-step,  or  Tonic  note,  and  called  the  Tonic  Triad  or  "  The  One''  (marked 
I) ;  and  one  of  subordinate  rank  erected  upon  the  sixth  scale-stej),  and  called 
"  Tfie  Six"  (marked  VI);  the  latter  is  much  less  common  than  the  I.  These 
Tonic  chords  are  Limited  to  three  Tones, — hence  their  title  "  Triad."  Thus, 
in  C-major: 


Ex.  12.^^: 


Tonic  Triad,  or  I. 
C  Major. 


3  tones,   c       -       e       -       g. 

Subordinate  Tonic  Triad,  or  VI. 
0  Major. 


3  tones,  a    -    c    -    e ;  somewhat  rare. 

19.  fa)  The  Dominant  class  consists  of  a  cluster  of  chords  erected 
upon  the  fifth  scale-step,  or  Dominant.  These  chords  may  embrace  as  many 
as  five  tones,  the  lowermost  of  which  (the  root)  is  often  omitted.  They  are 
erected  and  named  as  follows  in  C-major: 

Dominant  Triad,  or  "V  ("  The  Five"). 
C  Major. 

^-  - 


I 


Ex.  13.  r<m -^  —^  in  any  order, 


i 


3  tones,  g         -         b         -         d 

Dominant  Tth-cliord,  Y^  (  "Pive-Seven"). 

■ -y5>- 


-te>- 


-6>- 


-^  in  any  order.; 


4  tones,  g        -         b        -        d  -  f    (the  latter  a  chord-seventh). 


14:  EXEECISES  IN   MELODY-WBITrNG. 

Dominant  9th-choril,  V^  ("Five-Nine"). 
, ^ -^ 


m 


5  tones,    g         -         b         -         d         -  f        -         a    (tlie  latter  a  chord-ninth). 


Dominant  7th,  Incomplete,  o^^- 
15> 


Without  Root,  0  -  b  -  d  -  f . 
Dominant  9th,  Incomplete,  qV^ 


i 


1 


Without  Root,  0  -  b  -  d  -  f  -  a. 

(b)  To  the  Dominant  class  belongs  also  a  Triad  of  subordinate  rank, 
erected  npon  the  third  scale-step  (the  III);  it  is  so  rare  and  unimportant 
that  it  may  be  ignored  altogether  in  connection  with  melody-invention, — 
i.  e.,  it  is  not  a  "good"  chord  (par.  13). 

iiO.  The  SECOND-DoinNANT  or  Sub-Domxnant  class  consists  of  a  cluster 
of  chords  erected  upon  the  second  scale-step,  in  precisely  the  same  manner 
as  those  on  the  Dominant, — containing  five  tones,  with  frequent  omissions  of 
the  root.     Thus,  in  C-major: 

Second-Dominant  Triad,  II. 
G  Major. 


Ex.  14. 


m 


-in  any  order.  - 


/5" 

3  tones,    d 


i; 


Second-Dominant  7th-chord,  11^.  jj9 


z? 

4  tones,   d         -         f        -  a         -         c.  Very  rare. 


Sub-dominant  Triad  (propeily,  the  qH^,  with  omitted  Root). 


i 


-a 


Tones,  o  -  f  -  a  -  c,  called  IV,  for  convenience. 

Sub-dominant  7th  chord  (properly,  the  qTI^,  with  omitted  Root). 


« 


-a- 


JSl 


Tones,  o  -  f  -  a  -  c  -  e,  called  IV^. 


EXERCISES   IN   MEIiODf-WRITING. 


15 


Summary  (C-major) 


1.  Tonic  class. 


Ex.  15.  - 


2.  Dominant  class. 


I 


TI 


.V^ 


Eare. 


^ 


3.  Second  Dominant  class. 


II 


"Very  rare.         Rare. 


'Z/- 

s 


s 


119 


N.  B. — This  table  must  be  reproduced  in  every  major  key,  daily  for  a  time,  at  the 
key-board,  and  in  writing. 

21.  The  few  primary  rules  wliich  govern  the  succession,  or  move- 
ments, of  these  chord-classes  are  as  follows: 

(a)  The  chords  of  the  Tonic  class  may  progress  into  (i.  e.,  may  be  fol- 
lowed by)  (iiiy  other  chord  of  the  same  key. 

(h)  The  chords  of  the  Dominant  class  can  only  progress  easily  into  those 
of  the  Tonic  class,  preferably  into  the  I,  more  rarely  into  the  VI.  The  pro- 
gression of  a  Dominant  chord  into  one  of  the  Second-Dominant  class  is 
uncommou,  and  need  not  be  considered  in  melody-invention. 

(c)  The  chords  of  the  Second-Dominant  class  pass  most  readily  into  those 
of  the  Dominant  class;  but  they  may  also  be  followed  by  those  of  the  Tonic. 

22.  N.  B.  —  These  rules  of  chord-succession,  are  so  fully  confirmed  hy  the 
rules  of  inherent  melodic  tendency  (explained  in  paragraphs  4-6),  that  careful 
observance  of  the  latter  facilitates,  largely,  the  correct  application  of  the  former, 

23.  Nevertheless,  it  is  necessary  to  be  fully  conscious  of  the  quality 
and  name  of  the  chord-lines  represented  by  skips  in  the  melody,  and  to  con- 
trol their  movements  accordingly. 


EULES    FOE    SINGLE    SKIPS. 

24.     Each  single   skip   must  obviously   represent,  ul   pies  nt,  so;r,e 
chord.     For  example  (Cmajor)  : 

no  chord  Ul  (par.  19  6) 


Ex.  16.  - 


i 


1^ 


d: 


^^^ 


m 


i 


?  ?  ?        ?  ?  ? 

VI,  not  as  good  as  TV  or  II. 
(par.  18) 


?  ?  ? 


???  ??? 


IT 


^''^=f^^^f=T^S^^ 


all  good 


16 


;l 


II 


EXEKCISES   IN  MELODY-WKITING. 


s; 


P3^^^^:5^3^ 


??? 


?  ?  ? 


35.  Witli  this  single  limitation,  a  leap  may  be  made  from  any  tone. 
Active  o:  Inactive,  upward  or  downward.  The  rule  of  inherent  melodic 
tendencies,  or  Eesolutioiis  (par.  6)  is,  consequently,  not  binding  upon  the 
Active  scale-steps  during  skips  that  constitute  good  chord-lines.  While  it 
is  always  smoother  and  more  natural  to  conduct  these  scale-steps  in  the  jyroper 
direction,  they  may  leap  along  a  good  chord-line,  without  objection,  in  the 
opposite  direction,  —  even  irrespective  of  the  manner  in  which  they  are 
approached  (par.  11).     Thus: 


A.  Step  7,  regular. 

7 


Ex.  17. 


^-J^. 


itite 


^_^Sr=£^j:^S| 


V  V 

Irregular  (but  good). 


Y7 


(Ex.  29) 


i; 


^^^^^^=M^^^^H 


?? 


B.  Step  6,  regular, 
6 


IV  II 

Irregular  (but  good). 


VI    (par.  18) 


^^^E: 


-or ^ 0  msar^^m^ 


IV 

C.  step  4,  regular. 
4 


n 


IV 


VI 


all  good 


5^S 


=t 


33 


II  or  V^  IV 

Irregular  (but  good). 


V 


"^^^^^^^^^^ 


IV  or  V9 


IV 


II  or  V^ 


(Ex.  8) 


(Ex.  29) 


EXERCISES   IN   MELODY-WEITING. 


17 


26.  The  leap  of  a  Third  (called  a  "narrow"  skip),  as  has  been  seen,  is 
always  permissible.  Any  larger  leajjs  than  this  (called  "wide"  skips)  are 
subject  to  the  following  general  condition: 

After  a  wide  skip  (i.  e.,  any  distance  beyond  a  third)  the  melody  is  very 
likely  to  turn,  and  progress,  by  scale  or  chord-line,  in  the  opposite  direction. 
Thus: 

1. 


^^'  ^^-  ^pEggt^=^^=^?^^^g=3 


s^^ 


3: 


A.11  better,  as  — , 

5— a    rule,    than 
Z the  following: 


EE= 


:1= 


Allegretto. 


Mendelssohn. 


^^ 


#— . 


*^ 


-^^ 


m 


See  also,  Ex.  32,  No.  1;   Ex.  36,  Nos.  4,  14,  18,  19,  20;   Ex.  52,  No.  5;   Ex.  60,  No.  2:   Ex.  64,  No.  3;. 
Ex.  15,  Nos.  1,  2;  Ex.  100,  No.  3;  Ex.  101,  No.  5;  Ex.  117,  Nos.  11,  12. 

37.  (a)  If  the  melody,  however,  violates  this  rule,  by  continuing  in 
the  same  direction  after  a  wide  skip  along  the  line  of  the  scale,  it  should,  as  a 
rule,  pass  on  only  one  stejD,  and  then  turn.  In  other  words,  while  it  is 
always  more  natural  to  turn  back  immediately  after  a  wide  leap,  it  is  usually 
sufficientlv  correct  to  do  so  at  the  second  following  tone.     Thus : 


*1)  *2)  *3) 

*1)  From  d  down  to  either  of  these  tones.    *2)  From /to  either  of  these.    *3)  To  either. 


(h)  At  the  same  time,  if  the  scale-tone  that  follows  the  skip  in  the  same 
direction  chances  to  be  one  of  the  Active  tones,  it  is  more  than  likely  to 
assert  its  natural  tendency  and  resolve  properly, — in  which  ease  the  rule  of 
"  turning,  after  a  wide  leap  "  will  be  evaded  altogether.     Thus: 


Ex.  20. 


'    »'   0,     1              " 

"1       '1        h 

^ J-^J- 

*  ^■■-gj^- J— 

See  Ex.  21-1.   * 

Ex.  21-2.    * 

good 


*  These  two  progressions  are  doubtful  in  any  caae,  for  they  involve  a  violation  of  both  the 
rule  of  par.  6  a,  and  that  of  par.  26 


18 


EXERCISES   IN   MELODY-AVEITING. 


28.  (a)  The  rule  of  par.  26  gives  emphasis  to  the  still  more  binding 
and  imi^ortant  rule,  that 

It  is  possible  to  skip  to  any  Active  tone  in  the  direction  opposite  to  the 
tendency  of  tlie  latter,  namely:  from  any  tone  (though  seldom  beyond  an 
octav(>)  (Jownirard  t)  the  7tli  scale-atep ;  from  any  tone  upward  to  the  6th  or  4th 
scale-step, —  because  their  natural  Kesolutiou  provides  for  the  change  of 
direction  after  the  leap.     Thus : 


3. 


Ex.  21. 


m^^ 


It: 


(»-i- 


m 


fioii>  wither  from  either 

See  also  par.  36 ;  and  Ex.  52,  No.  5. 


frorn  either 


m 


(b)  It  must  not  be  inferred,  however,  that  this  is  necessary.  It  is  of 
course  also  possible,  though  far  less  regular,  to  leap  upon  an  Active  tone  in 
the  other  direction  (i.  e  ,  upward  to  the  7/h  scale-stej?,  and  doionumrd  to  the 
6th  or  4th  step),  though  only  along  some  jjerfectly  good  chord-line,  as 
already  seen  (par.  24). 

29.  (a)  If  the  Active  tones  are  approached  by  a  wide  leap  irregularly 
(in  the  direction  corresponding  to  their  Resolution:  iip  to  the  7th,  down  to 
the  6th  or  4th  steps),  it  will  either  afford  an  additional  opportunity  of 
obtaining  the  irregular  jarogressions  given  in  pai\  10  (Ex.  7),  in  keeping  with 
the  rule  of  i^ar.  26  ("turning,  after  a  wide  skii?");  thus: 


Ex.  22. 


'^^-^-, 


-Jumar^- 


Doubtful,  because  of  the 
extreme  urgency  of  the 
7th  scale-step;  jiar.  6a. 


(b)  Or,   better,   it  will  be  found  expedient  to  take  advantage  of  the 
license  of  pai-.  21  a, — i.  e. ,  to  turn  back  at  the  second  following  tone.     Thus: 


to  either 


Ex.  23. 


— ^B^# «- — *-m-^^\ 1 »^ " 


All  better  than  those  of  Ex.  22. 


30.  The  leap  of  an  octave  is  allowed  from  any  tone,  upward  or  down- 
ward (according  to  the  low  or  high  pitch  of  the  tone  from  which  the  leap  is 
to  be  made).     This  is  simply  a  wider  version  of  par.  9a.     For  illustration: 


par.  26. 


par.  27  a. 


Ex.  24. 


V^^ 


gz^lT^i"^rT-^^^S=p^ 


to  either 


EXEECISES  IN   MELODY-WKITING. 


19 


LESSON    S. 

A  large  number  of  original  ^-measure  Melodies,  in  all  major  keys,  and 
in  all  the  species  of  measure  prescribed  in  Lesson  1.  The  rlivthm  uniform. 
The  scale-line  and  skips  of  a  ord  to  be  used  as  before;  and,  besides  these, 
single  iride  skips  (i.  e.,  each  wide  skip  followed  by  the  scale-line,  or  by  a 
narrow  h-ap)  may  occur,  according  to  the  above  rules.  Sing,  and  play,  each 
melody  when  completed. 


CHAPTER    IV. 

THE    CHORD-LINE,    CONTINUED. 

31.  Review  par.  13,  and  Ex.  11.  If  the  melody  is  to  continue,  after  a 
wide  skiiJ,  with  another  skip  in  the  same  direction  (contrary  to  the  general 
]5rinciple  of  ])ar.  26),  it  may  pass  into  any  tone  which  harmonizes  with  the  tones 
of  the  preceding  skip, — and  so  on.  as  far  as  the  skips  extend  in  the  same 
direction.  This  rule  re]:)resents  simply  the  application  of  the  second  Pri- 
mary Rule  (par.  13)  in  a  broader  sense.     For  example: 


Ex.  25. 


C-iuajor,  I 


i; 


J5. 


-=-4S2- 


:^^->^J: 


6. 


— I ^"'"w^ — ' 


7.    (par.  6  a). 

d: 


=q=^i^ 


d =_ 


i^^=3; 


IV 


II 


?? 


^:i 


i 


8. 


O.  (par.  6  a) 


lO. 


11. 


±=d: 


*^^ 


r^ 


Vi*n 


BE^E^a 


3=^ 


(par.  19  6) 
13. 


13. 


good 


14.. 


^ 


•*■  ???  -^9- 


i^ 


i^i^il 


And  the  same  in  the 
opposite  direction  of 
each  figure. 


32.  If  the  last  tone  of  the  faulty  groups  (faulty,  because  the  last  tone 
does  not  harmonize  with  the  preceding  tones)  be  desired,  it  may  always  be 


20 


EXERCISES   IN    MELODY-WKITING. 


reached  by  turning, — i.  e.,  it  may  be  taken  in  a  Liglier,  or  lower,  octave- 
register.     Thus : 


Ex.  25-6 


25-7. 


Ex.  26. 


3^(3): 


all  good 
25-11.  25-12. 


d: 


-*— 4 


(D 


25-13. 


25-14. 


i^ 


a 


^- 


-:X 


*       ^ 


o: 


£ 


etc. 


33.  This  important  rule  appears  to  liave  some  bearing  upon  a  single 
skip  which  follows  after  the  scale-line  in  the  same  direction  ;  it  is  always  best 
to  skip  thus  onward  to  some  tone  which  bears  obvious  affinity  to  the  rtdinff 
harmonic  impression  of  the  preceding  scale-tones.  What  this  ruling  im- 
pression is,  depends  chiefly  uj)on  the  location  of  the  accent.  For  illus- 
tration : 


Ex.  27. 


^i^ 


-better:^ 


3!!Ji=^t=p: 


IV 


good 


te: 


Ex.  16,  meaa.  4. 

"     :d== 


— — s 


*-^ — 


rood 


34.  The  repetition  of  a  tone  (par.  9  a)  arrests,  to  a  certain  extent,  the 
operation  of  the  rules  of  the  skip  (par.  26  and  31).     Thus: 


good 


better 


Ex.  28. 


:3^: 


-^- 


^=P=T 


best 


-*'***s^- 


Ex.  18. 
Ex.  25. 


Ex.  19. 
better  good 


be.st 


•^  ?  ?  rep 


35.  The  most  objectionable  progression  is,  probably,  that  of  the  aug- 
mented fourth, — formed  in  major  by  the  leap  from  the  4th  scale-step  up  to 


EXERCISES   XN   MELODY-WKITING. 


21 


the  7th  step,  and  vice  versa,  from  the  7th  scale-step  clown  to  the  4th  step. 
Thus: 

:± 
Ex.  29.1 


B 


?  ?  ? 


?  •?  ? 


This  progression  is  checked,  in  each  case,  both  by  par.  6  (the  inherent  ten- 
dency of  the  first  tone),  and  by  par.  28  6  (the  irregular  leap  to  an  Active 
tone).  It  is,  however,  possible  to  justify  it  as  derivation  from  the  line  of 
the  Incomplete  Dominant-7th  chord  (Ex.  13),  if  it  is  an  entirely  obvious 
image  of  the  chord-line.     Thus: 


Ex.  30. 


m 


good 


dl 


>5.    1^ 


nV 


better 


best 


:ii^ 


^^5 


■h- 


=F= 


B 


'V  complete 


Comp.  Exs.  17  &  21. 


36.  The  skip  of  a  seventh  is  only  advisable  when  it  occurs  either  in 
keeijing  with  par.  28  a ;  or  as  derivative  of  the  Dominant-7th  chord-line. 
Thus: 


Ex.  31. 


;l 


^: 


P 


-* — etc 


^ 


Possible,  but  hazardous. 


^^fe^^E^Ej^g^^^lEg-^-^^ 


117 


to  either 


1V7 


Allegro. 


KUBINSTEIN. 


f 


iJB- 


t=3 


i 


Y^ 


lU 


37.  A  succession  of  skips  describing  the  line  of  some  chord  (as  in 
Ex.  11),  should,  as  a  general  rule,  coincide  in  extent  with  the  fundamental 
rhythmic  groups,  i.  e.,  embracing  in  duple  measure  2,  4  or  8  beats,  in  triple 
measure  3,  6,  9  or  12  beats.     In  this  way  the  cAorc?-images  will  confirm,  and 


22 


EXERCISES   ZN   MELODT-TVKITrNG. 


even  serve  to  indicate,  the  rhythmic  design.  In  other  words,  the  chord-line 
extends,  usually,  only  to  the  end  of  a  rhythmic  group  (through  a  half 
measure  or  whole  measure)  and  is  then  exchanged,  at  the  following  accent, 
either  for  a  new  chord-line,  or  for  the  scale-liue.  It  must  be  understood 
that  this,  however,  is  only  a  general  rule,  subject  to  many  obvious  modifica- 
tions.    For  illustration: 


1.    Allegro. 

r.     U.     ^ 

F^fe^ — 

Ex.  32.Efer^ 


Schubert. 


I V7....        I. 

1/2  meas.   I/2  meas.     ^/j  meaa. 


3.    Allegretto^ 

a' 


SCHUBEKT. 


r-H— ^ 


^,iz=q^^^l=ir===j;:^^w=|=i=^^^==^"  -^====1=1:1 

^1 — »-— * |-^l — h     '        —^ —  -I p — 9 1 ^-|  ,^1 — g H 

I,'*' scale       V I...'**'.      II.."**"        V 


1/1  meas. 


V I II 7       V 

J/2  meas.     J/2  meas.       1/2  meas. 


3.     Allegro. 


Schubert. 


±3a-erf'± 


_*-i 0- 

-I 1 1 — 


#v«-»— -I- 


_^jt^e^_rietc 


C.   I — 4  measures. 


V  I 

1/2  meas.   1/2  meas. 


4=.    Allegro. 


S 


l«--^J^ 


Verui. 


G.    Each  chord-line  1/2  measure. 


5 .    ^  Uegretto 


E.      I  V7 

Change  of  chord-line  at  each  accent. 


BllAHlIS. 


I  1  y 

See  also,  Es.  3G,  No.  10;  Ex.  52,  No.  6;  Ex.  61,  No.  2. 

38.  All  melodic  formations  of  four  consecutive  tones,  to  which  the 
above  rules  of  the  skip  do  not  appear  to  extend,  must  be  controlled  by  the 
regulations  of  cJ/ord-sticcession;  for  there  are  many  places  in  a  melody  where 
the  influence  wliich  Harmony  exerts  over  melody  is  peculiarly  manifest 
(par.  15),  especially  when  the  location  of  the  accented  tones  is  considered. 
Among  these  formations  may  be  classed: 


EXEKCISES   IN    MELODY- WKITING.  25 

(a)  Certain  successions  of  skips  in  opposite  directions.     For  example: 


(par.  21  b.) 


better 


Ex.  33. 


V7. 


II 


'^-- 


IV.... 


VI 


good 


i: 


.js,.j: 


^^t^^^ 


^-~ 


?? 


S^=^^: 


good 

A 

::t= 


::^± 


vr 


IV. 


i>^-r- 


/'Sj  The  interception  of  the  Kesolution  of  Active  scale-steps  (par.  7)  by- 
interposing  an  imacceiited  tone  between  the  Active  tone  and  its  resolving 
tone.  Here,  the  location  of  the  tones  in  the  measure  is  of  dominating 
importance,  as  no  other  than  unaccented  tones  can  safely  be  inserted.  If 
two  tones  are  interposed,  the  Resolution  may  be  evaded  altogther.  For 
example: 


A.    All  good. 


Ex.  34. 


I  ^^^^»  "  A  "  A  _  _Z I " 


V 

V... 


v....   I 


Permissible 


r 

V... 
better 

A 


-i 


^4zzt: 


^i^PEi 


m 


Ex.  2. 


B.     good 


^¥=fc^- 


S±zdt 


better 
6 


possible. 


^m 


d: 


C.     All  good- 
4 


rifi 


good 


?  ?  good 

4  .5 


possible. 
4 


^ 


tSeE= 


^^— *^ 


EEg^^_ 


:^=M=ii:?: 


V7. 


24 


EXEBCISES   IN    MELODY-WKITING. 

Halevt. 


Beethoven. 


Beethoven. 


Beethoven. 


^t=v- 


--H 


P0 


(Ex.  36,  No.  3) 


(Ex.  36,  No.  8) 


^**-.~^-^«- 

6 

*       "# — <   1 

5 

-* — #    1 — W- 

Brahms. 

7                 8 

p-*-F^^ 

H — t^^t^H 

tF=F=^-^ 

e--^^^ 

-;-=tl 

fcj  Successive  Avide  leaps  which  represent  the  alternate  presentatiun  of 
the  tones  of  two  different  (contiguous)  melody-lines.     Thus: 


1.    Any  Tempo. 

4 


Ex.35.^^Ejz(^==( 


--(?rz:ptfi 


=.p^P 


Mav  be 


represented  — -t — — — 
conectl.Y  b.v :       *^^     I 


^^Eii 


#=-• 


-^— *- 


4. 


i 


_. — J — ^ — I — I — I — I — I — I — 1 — i — ^—- —    .^  - 


?ee£ 


i==t: 


-etc.,  etc. 


5.    Allegro. 


Bach 


^e=^= 


6.     11  Oder  at  0. 


Bach. 


:ia 


I     I 

"~->- 


^t^ 


-* — p- 


F-niajor. 

See  also,  Ex.  52,  No.  6;  Ex.  62,  No.  6;  Ex.  95,  No.  5;  Ex.  117,  Nos.  7,  8. 

39.  N.  B. — Pupils  who  are  not  yet  sufficiently  familiar  with  the  chords  and  the 
rules  of  chord-succession,  are  likely  to  find  these  minuter  distinctions  confusing.  If  so, 
they  may  omit  this  last  paragraph, — or  any  other  troublesome  paragraphs, — for  a  time, 
■with  perfect  safety.  Such  confusion  can  only  arise  from  the  use  of  the  irregular  and 
exceptional  phases  of  melodic  treatment.     If  the  student  will  avoid  these,  and  limit  him- 


EXERCISES   IN   MELODY-WKITING. 


25 


self  for  awhile  to  the  strict  observance  of  the  fundamental  rules,  and  the  regular  modes 
of  melodic  conduct,  he  can  encounter  no  difficulty  or  embarrassment:  namely,  the  two 
Primary  Rules,  paragraphs  3  and  13, — 

Movement  along  the  Scale-line  or  Chord-line; 
and,  besides  these,  paragraph  4, — 

Proper  Resolution  of  the  Active  Scale-steps; 
paragraph  10, — 

Overcoming  natural  tendency,  by  approaching  the  tone,  along  the  scale,  in  cor" 

responding  direction; 

paragraph  24, — 

Each  single  skip  representing  some  good  Chord-line; 
paragraph  26, — 

Changing  the  direction,  after  a  wide  leap; 
paragraph  28  a, — 

Approaching  an  Active  tone  in  the  direction  opposite  to  that  of  its  Resolution; 
and  paragraph  31, — 

Successive  leaps  in  same  direction  representing  a  good  collective  chord-effect. 

These  few  rules  practically  suffice  for  primary  melodic  conduct,  and,  once  firmly 
established  in  the  mind  of  the  pupil,  as  habits  of  melodic  thought,  all  exceptional  and 
irregular  forms  of  melodic  succession  will  be  found  to  follow  as  a  matter  of  course,  and 
regulate  themselves,  sooner  or  later. 

Additional  miscellaneous  illustrations  of  all  the  foregoing  chapters;  the 
figures  in  parenthesis  refer  to  paragraphs: 


1.    Andante. 

(par.  i:j)      (9  a) 


Ex,  36. 


A tt « «_ 


-— Tzzt=t: 


(13)_ 


Schubert, 
(3)  (6  a) 


—I- 


---X 


5^ 


3.    Moderato 
(13) 


Chord-line    Eep Ch Rep         Ch. 

(66) 


=F 


:q= 


Scale. 
Bkahms. 


=J^I 


I 


Chord Sc.  Chord. 


Scale. 


3.    Allegretto. 

(13) 

1 

1          1 

(6c) 

:J 

b"^  s     ^ 

d 

1 

— 1 — 

-?^- 

— 1 — 

-J        J 

-A, 

eS 

f-i^—^- — *— 

— V 

9 — 

^- 

rt= 

« 

Chord Sc.        Chord . . 

(37)  (37)  (37)        (38  6)  Beetiiove.n. 


3^ 


I 


-h- 


Sc.  Ch.         Sc,  Ch.         Eep,  Ch, 


26 


EXERCISES  IN  MEIiODY-WKITING. 


4.  Allegretto. 

(13)  (9(1)         (36)    (6  c) 

N 


(10) 


(66) 


l^t 


__^-_^_g. 


3= 


-<&- 


:a: 


^-x-*- 


#-^-# N 


Beethovbm. 


^m 


Ch Sc.    Eep.  Ch Sc.    Rep.  Scale Ch,  Kep.  Sc Kep. 

Beethoven. 


J>.  Allegro. 

JL    '    ^^ 

:ri:zii|ip=p-?z 


-*-v — y 


;=^=?: 


(13) 
Cliord 


9    S      •-r 


^ 


-#-; — * 


Sc.  Ch. 


Scale. 


6.  Allegro. 
(13) 


Beethoven. 


(9  a) 


^ 


=1 Lj — -•— 1^= 


^-^^fcfcH 


Chord  . 

7.     Allegro. 
(13) 


Sc. 


Beethoven. 


-r^ 


I 


-2.-3: 


Chord. 


8.  Andante. 

(9ffl) 


(9  a) 


Beethoven. 


(3) 


(3) 


-ii_— ^ 


3=^=^=h^'^=^~l^^^^^ 


— |5=H 1- 


,^J-_^ 


^ 


-«■  (6c) 

(The  further  aualysis  is  left  to  the  student). 

O.  Allegro. 


(38  &) 


Beethoven. 


^ — ^ — •- 


t=f 


1 


(10)         (9  a) 


10.  Larghetto. 


A 


(36) 


'ji^i= 


r_-^ — s;_zil— *: 


-•--- 


-*/: 


=TJ3z. 


(6&) 

Beethoven. 


-*— '-*-*- 


s 


(37) 


(37) 


(37) 


11.  Yivace. 


--^^ ^^^^^^ 1^ -I 


(37) 


fi—^- 


Bach. 


-j^-#- 


(10) 


:!;i=t 


i 


12.  Moderato. 


EXEKCISES  IN   MELODY-  WKITING. 

(26) 


27 


I 


(28  a)  (26) 


(28  a) 


Mozart. 


-«- 


=F= 


-^ — • 


^^ 


E=£ 


t==S^ 


-» — ^- 


r — g^~r- 


(6a) 
13.  Andante. 


(66) 
(25) 


(27  6) 


Verdi. 


-^-8-- 


:^ 


:±=:=J: 


,=1: 


•^-•-# 


_*_o_!_j  a: 


:2z  h^__j_ 

-         — lim^z?: 


^^?ill 


(37) 


(37) 


(29  a) 


14.  Lento. 

1      1       ■ 

Brahms. 

; 

C'          '' 

-(2 »- 

-z]-z^= 

n — *      '^  •   • — 

-±-^H 

L^ L 

#-J 

-P— P 

'5'        ^ 

^             •        -* 

b^zda 

(26) 


(10) 


13.  Lento. 


Chopin. 


-^ — *- 


^— * — j-zg- 


10 


(10) 


IG.  Maestoso. 


i6l- 


-_g——it 


— — ^""^ — 


^ 


(10) 


:fti''^ — *-! — ft—. 


Mendelssohn. 


-g,_i — 9 »- 


f=F=^=F=^ 


-» 9 e — ^- 


C=t: 


^ii^ 


17'.  Andante. 


Eossixi. 


^t=^-^-^^"=F= 


(10) 


18.  Allegro. 


-S..-5— V- 


(36) 


Beethoven. 


* — •- 


m •- 


iH 


19.  Allegro. 


(30)         (38c. 


Hatdn. 

--.) 


;f^ 


=P5: 


* ' m 1 -1^^^ — I 


(26) 


(26)  (26) 


28 


EXERCISES   IN   MELODY-WEITING. 


30.  Allegro. 


— * 1 — 


(Ex.  106)     (13    aud  (26) 


Bketiioven. 


See  also,  Ex.  96,  Nos.  1,  2:  —and  examine   "ToxE-REr.ATioxs"  (G.  Scliirmer,  N.  T.,  1900),  Les- 
son 10,  all;  Lesson  13,  all;    Lesson  22,  Nos.  2,  3  and  5. 


LESSON    4. 

A  large  number  of  4-measure  melodies,  in  all  major  keys,  and  in  all  the 
species  of  Measure  prescribed  in  Lesson  1.  The  rhythm  uniform.  The 
scale-line  and  chord-lines  to  be  employed,  in  the  most  comprehensive  man- 
ner, according  to  the  given  directions.  Recollect,  and  ajjply  freely,  par,  9  a 
and  par.  30.     Review  the  note  to  Lesson  1;  and  i^ar.  39,  thoroughly. 

Sing,  and  play,  each  melody  when  comjDleted. 


Such  melodies  of  these  first  4  Lessons  as  have  been  corrected  and  ap- 
proved by  the  teacher,  may  be  harmonized,  by  those  students  whose  knowl- 
edge of  Harmony  enables  them  to  perform  the  task  successfully. 


CHAPTER    V. 


MINOR. 


40.  The  true  minor  mode,  that  is,  the  harmonic  form,  corresponds  to 
the  major  scale  of  the  same  key-note,  excepting  that  the  Gth  and  3d  scale- 
steps  are  lowered  a  chromatic  half-step.      Thus: 


Ex.  37.  : 


1^ 


C-mrijor. 


jz.       zz: 


C-minor,  harmonic  form. 


The  same  in  both  directions. 


i=^ 


i^^ 


m 


=^i= 


#— ^ 


Signature,  3  flats. 


EXERCISES  rN   MELODT-WEITING, 


29 


All  melodic  and  harmonic  movements  in  minor  are  regulated  upon  the 
basis  of  this,  the  harmonic,  form  of  the  scale.  Before  proceeding  farther, 
the  student  must  familiarize  himself  absolutely  with  this  derivation.  Every 
minor  scale  must  be  written  out,  according  to  Ex.  37,  and  played  repeatedly. 
And  the  table  of  Ex.  15  is  also  to  be  written  out  in  every  minor  mode  (with 
lowered  3rd  and  6th  steps). 

41.  All  the  Scale-conditions  and  Chord-conditions  of  the  major  mode, 
explained  in  the  preceding  four  chapters,  are  therefore  similarly  valid  for 
minor, — with  a  few  self-evident  limitations,  as  follows: 

42.  The  most  noteworthy  limitation  for  minor  melodies,  is  an  excei?- 
tion  to  par.  10,  as  far  as  the  6th  and  7tli  scale-steps  are  concerned.  Tliese 
should  not  appear  in  immediate  succession,  as  a  very  general  rule.  Ex.  7, 
measures  1  and  2,  are  therefore  only  valid  in  C-major,  —  not  in  C-minor 
(Ex.  7,  measure  3,  however,  is  not  involved  in  this  restriction).     Thus: 


Ex.  38.  -^J^-JT f- 


s^g^pg; 


-M* 


C-minor.    The  flat  is  inserted  before  a  for  greater  clearness. 

This  also  affects  a  portion  of  Ex.  17,  Ex.  20,  Ex.  22,  and  a  portion  of 
Ex.  28, — no  others. 

43.  This  succession  is  nevertheless  possible,  though  very  rare,  as  obvious 
derivation  from  the  chord-line  of  the  Diminished-7th  chord  (i.  e.,  the  Domi- 
naut-9th  chord,  in  the  minor  mode,  incomplete, — Ex.  15,  chord  no.  7,  with 
a?).     Thus: 


Ex.  39. 


C-mluor.  0^9 


44.  Further, — an  additional  augmented  fourth  occurs  in  minor,  formed 
by  leaping  from  the  6th  scale-step  up  to  the  2nd  step;  and  vice  versa,  from 
the  2nd  step  down  to  the  6th  step.     Thus: 


Ex.  40. 


:&i 


?  ?  ? 

C-minor. 


??? 


The  flat  before  a  is, 
of  course,  superfluous. 


This  progression,  like  that  of  Ex.  29,  is  checked  either  by  the  irregu- 
larity of  carrying  the  6th  scale-step  upward  (par.  6  5),  or  of  leaping  down 
upon  it,  in  the  direction  of  its  Resohition  {-par.  28  5). 

And,  like  the  former,  and  like  the  irregularity  of  Ex.  38,  it  is  possible 


30 


EXEKCISES  IN   MELODY-WKITING. 


to  justify  it  as  ohvious  derivation  from  a  chord-line,— eitlier  from  that  of  the 
Diminishsd-7th  chord  (oV^  i^  minor),  or  from  the  II.     Thus: 


--b^ 


Chonl-lint 


X.  4:l.P^^i?—^—\yr^         -—I' 


• — ■-• i^r-|- 


-t7*- 


s 


better; 

1= 


^iB 


C-minor, 


inor.  Ojj   > 


45.  Further, — the  well-nigh  intolerable  interval  of  the  augmented  fifth 
■occurs,  in  minor,  in  leaping  from  the  3rd  scale-step  iip  to  the  7th  step,  and 
vice  versa.     Thus: 


n L "* 

Ex.42.Ffe^b=zd: 


7  7 


?  ?  ?  ? 

C-miuor.  (Ill  ?) 


^^3= 


?  ?  ?  ? 


This  error  is  checked  by  several  rules, — par.  24:,  par.  28  5,  par.  6  a, 
The  leap  from  step  3  doivn  to  step  7,  on  the  contrary,  is  perfectly  good 
(par.  28  a).     But  the  leap  from  step  7  up  to  step  3  had  better  be  avoided 
(for  the  present),   as  it  represents  a  very  improbable  chord.      For  illus- 
tration : 


Ex.  43. 


^ 


y. 


iifi- 


frood 
C-miuor. 


-?-?- 


I 


(III) 


N.  B. — Every  musical  illustration  given  in  Chapters  I  to  IV  is  to  be  reviewed  and 
tested  in  the  corresponding  minor  key  (explained  in  Ex.  37). 


Additional  general  illustrations 

1.  Allegro. 
Ex.  44 


riiT- 


1^^ 


--s 


Mendkissohn. 

— N- 


7^^:^ 


^1 


Lpar.  31- 
E-miuor. 


(Ex.  31). 


3.  Adagio. 

pur.  13- 


3^ 


^- 


-0—. H 


C-minor.    Lp^r.  3, 


KUBINSTEIN. 


^t=r^ 


I 


EXERCISES   IN   MEIiODY-^VKITING. 


31 


3.  Adagio. 

rim 


Schumann. 


4.  Allegro. 


Beethoven. 


Sgig_^^g|ggEE^BEif5E|^P 


Jt=t 


M 


C -minor.      L 
5.  Lento. 


Ex  43 


(pai-.  37  ) 


^? 


-#---- 


?fe 


C-minor. 


C-iuinor.  Ex.  39. 


SCHUBEUT. 


l_Ex.  39.. 


See  alao,  Ex.  55,  No.  3 ;  Ex.  63,  No.  8 ;  Ex.  65,  ISTo.  1 ;  Ex.  129,  Nos.  5,  6 :— aud  "  Tone-Kelations," 
Lesson  11,  all ;  16,  Xo.  7;  18,  No.  7 ;  21,  No.  4;  22,  No.  4. 


LESSON    5. 

A  large  number  of  4-measure  melodies,  in  all  the  minor  keys,  and  all 
the  species  of  Measure  jsrescribed  in  Lesson  1.  Rhythm  uniform.  All 
details  precisely  as  in  Lesson  4.     Avoid  mo7ioto7iy. 


CHAPTER    VI. 

DIVERSITY   OF   RHYTHM.     REGULAR. 

46.  The  rhythmic  effect  of  a  melody  may  be  heightened  by  employing 
tones  of  different  time-values  (instead  of  uniform  beats,  as  in  the  preceding 
chapters). 

(a)  The  disposition  of  these  values  is  Regular, 

When  the  comparatively  longer  (i.  e.,  heavier)  tones  occupy 
the  accented  beats,  or  accented  beat-fractions;  and,  vice  versa, 
when  the  comparatively  shorter  (i.  e. ,  lighter)  tones  occupy 
unaccented  beats,  or  beat-fractions.     Thus: 


Ex.45. 


2 

4. 

J.    / 

regular  rhythm 

3 
4 

A 

J       J 

'rnn 


etc. 


J.  ; 


J 


s   s 


0  .     J       4     4 


J 


J     J 


n  n 


32 


EXERCISES   rN   MELODY-WEITING. 


4 
4 

A 

J. 

• 

A 

A 

A 

J. 

s      1 

S      0 

6 

A 

A 

8 

1 

4  . 

J     / 

J     I    I 

0  0  0 


A 

^    J    J 


J 


; .  d 


}        S      d      p      0      J      ] 


^  ^  ^ 


J 


(^5^  TJniform  divisions  of  an  entire  measure  (i.  e.,  uniform  beats,  or 
beat-fractions)  are  always  regular,  also,  because  they  do  not  contradict  the 
above  conditions.     Thus: 


Ex.  46. 


^1 


U 


^1 


47.  It  is  generally  advisable  to  avoid  using  extreme  time-values  in  the 
same  Phrase-melody.  For  instance,  in  2/4  or  4/4  measure,  J -notes  (as  sum 
of  two  beats)  and  J^- notes  (as  simple  division)  may  both  occur; — occasionally 
also  a  dotted  half-note,  or  a  16th-note;  but  the  whole  note  woiild  be  rai-e,  and 
32ud-notes  almost  out  of  the  question.  In  other  words,  the  beats  indicated 
in  the  signature  should  constitute  the  fundamental  or  average  time-value; 
this  may  be  augmented  by  one  or  two  (rarely  three)  additions,  or  diminished 
by  one  or  two  divisions. 

The  melodies  given  in  Exs.  3,  7.  32  (excepting  Nos.  1  and  5),  34  and  36  (excepting  Xos.  10, 
11)  are  all  constructed  in  regular  ihyMiin.  Tliey  are  to  be  carefully  reviewed,  from  this  stand- 
point.    See  also,  "  Tone-Kelatio^;8,"  Lesson  18,  Nos.  1,  4,  5,  8 ;  22,  Nos.  1,  2,  6 ;  30,  Nos.  1,  4. 

48.  Rhythmic  diversity  is  derived  from  uniform  rhythm  by  the  fol- 
lowing methods: 

(a)  By  employing  the  dot; 


J  J  J 


0      0  0  •     0    y       0      0 


^    etc. 


(b)  By  any  other  process  of  lengthening  one  or  more  of  the  original 
tones; 


A-     0     c 


j=j  n-,  s  J  J  J  j=j  J  n 


I   or 


JTT,, 

0000  : 


d     0      0     0  0      or    * 


4    0  0    0  0 


etc. 


Further,  diversity  is  procured — 

(c)  By  placing  less  or  more  tones  in  a  measure  than  the  number  of  its 


EXERCISES   IN   MEIiODT-WEITING. 


33 


fTmdamental  beats;   for  instance,  in  3/4  measure,  less  or  more  than  three 
tones.      The  first  gives  addition,  the  other  gives  division,  of  beats.     Thus: 


J    J 


2  tones 


1  tone 


4  tone  1 


a     0 


0    ' 
4  tones 


0  0      0 


r-1    r: 

0      0        0      0 


I     r-   r-; 
0     0 '  0  0 '  0 


5  tones 


more  rarelv 


ti  0    0    0    0 

5  tones 


I  I      J 

0  0      0 

7  tones 


etc. 


The  "  triplet "  will  be  regarded,  at  present,  as  6/8  or  9/8  Measure. 

49.  Rests  represent,  commonly,  the  suppression  of  a  portion  of  one  of 
the  original  tones; — generally  an  unaccented  fraction,  in  which  case  the  Rest 
follows  the  tone;  sometimes,  however,  an  accented  fraction,  in  "which  case  the 
Rest  precedes  the  tone  which  it  represents,  and  as  the  equivalent  of  Avhicli  it 
is  to  be  treated.  For  illustration  (the  slurs  indicate  -which  tones  the  rests 
are  borrowed  from) : 


1.  Allegro. 


Ex.  47. 


^— t— — ^^^ ^ Vn i^^*H— 1 

--^^1^'-^^     .^^-f0^0—0^ — r^'^'fl^l^F 


^-0- 


i^?^ 


3. 


Mexpei-ssoiin. 
I L 


jg-and  -^-p-^ *-p-*-|-y-^ 


^-^^=^J 


g^il^iiH 


3.  Allegretto. 


if  — 


Beethoven. 


4.  Largo. 


Beethoven. 


"-^g?- 


D-major. 


See  also,  Ex.  56.  No.  2;    Ex.  59,  No.  3;    Ex   87,  M^o.  2;   Ex.  95,  No.  4;   Ex.  102,  No.  3;   Ex.  106, 

No.  5;  Ex.  117,  No.  9. 

The  employment  of  rests  (which  must  be  very  sparing,  at  present)  is 
subject  to  no  other  rule  than  that  they  must  never  be  permitted  to  sever 


34  EXERCISES    IN    MELODY-WRITING. 

the  continuity  of  the  Melody;  if  used  tinder  conditions  that  preserve  or 
restore  the  coherency,  or  perhaps  even  emphasize  the  structural  unity  of 
the  sentence,  they  are  certain  to  be  permissible  and  effective. 


LESSON    6. 

A.  Take  a  number  of  the  melodies  invented  in  preceding  lessons,  in 
uniform  rhythm,  and  diversify  the  rhythm  in  regular  forms  according  to 
par.  48  a  and  b  (without  altering  the  number  of  tones  in  the  original  form). 

B.  Invent  a  large  number  of  new  melodies  with  diversified  rhythm, 
regular,  as  shown  in  par.  48  a,  h  and  c.     A  very  few  rests  may  be  inserted. 

Employ  every  species  of  Measure  j)rescribed  in  Lesson  1;  and  write 
alternately  in  the  major  and  minor  mode. 

Be  careful  to  make  all  shorter  tones  essential  (see  par.  100). 


LESSON    7. 

A  number  of  four-measure  melodies  in  9/8,  9/4  and  12/8  Measure. 
Rhythm  diversified,  regular  forms ;  different  major  and  minor  keys,  al- 
ternately. 

Such  melodies  of  these  two  lessons  as  have  been  corrected  and  approved 
by  the  teacher,  may  be  harmonized,  by  pupils  in  Harmony. 


CHAPTER    VII. 
THE    PERIOD-FORM. 

50.  The  "Period"  generally  embraces  8  measures;  that  is,  two  phrases, 
of  4  measures  each.  The  first  of  these  is  called  the  Antecedent,  the  second 
one  the  Consequent  Phrase. 

51.  (a)  The  Antecedent  Phrase  begins  exactly  like  any  single  Phrase, 
according  to  par.  8  a.  But  it  ends,  not  with  the  Perfect  cadence  (8  6),  but 
with  a  so-called  Semicadence, — upon  an  accented  beat  of  the  4th  measure, 
with  either  one  of  the  three  tones  which  co7npose  the  Dominant  Triad. 

(b)  The  Consequent  Phrase  follows,  usually  beginning  on  the  same  beat 
with  which  the  Antecedent  began,  and  ending,  like  any  single  Phrase,  with 


EXEKCISES  rN   MEIiODT-WBITING. 


35 


the  Perfect  cadence,— upon  an  accented  beat  of  the  final  (8th)  measure,  with 
the  Tonic  note.     Thus  (in  C-major): 


(Accented  or  unacc.  beg.) 


Perf.  Cadence. 


Ex.  48. 


52.  In  the  first  few  examples  invented,  the  Consequent  Phrase  must 
<iorrespond  to  the  melody  of  the  Anteredeyit,  excepting  the  last  3  or  4  tones; 
these  always  differ,  because  of  the  diversity  of  cadence.  The  formation  of 
such  Period-melodies  is  called  "parallel  construction."     For  illustration: 


Ex.  49. 


1.  Antecedent  Phrase. 


J5ZI1II*! 


#-H 


i:^^: 


■0- 


A- rain  or. 


m 


Consequent  Phrase. 


6. 


Schumann. 
8. 


--^'- 


;*— I 0 — I- 


33 


I 


Like  nieas.  1. 
3.  Antecedent  Phrase 


Like  lueas.  2. 


-*-?- 


V     I 


Like  meas.  3. 


A -major. 


(Ex.  22). 


Consequent  Phrase. 


Beethoven. 


Like  meas.  1. 

Like  meas.  2. 

See  also,  Ex.  52,  No.  1 ;  Ex.  53,  No.  2. 

53.  In  each  succeeding  example,  the  extent  of  this  similarity  between 
the  Phrases  is  to  be  diminished  grfviually, — more  and  more  tones  in  measure 
7,  then  6,  and  then  5,  are  to  differ  from  those  of  measure  3,  then  2,  and  then 
1;  until,  finally,  the  entire  Consequent  Phrase  is  independent  of  its  Ante- 
cedent. This  ultimate  formation  is  called  the  Period  of  "contrasting  con- 
struction."    Thus: 


Antecedent. 


Ex.  50. 


36 


EXEKCISES   IN   MELODY-T\'KITrN'G. 


Consequent. 


Folk- Song. 


See  also,  Ex.  54;  Ex   55,  Xo.  2 ;  Ex.  129,  Xo  1. 

The  approi^riateuess  of  a  brief  Rest  at  the  cadences  is  demonstrated  in 
both  of  these  examples  (49  and  50) ;  see  par.  49. 


LESSON    8. 

A  large  number  of  8-measure  melodies,  in  Period-form,  according  to 
par.  51;  at  first,  several  in  parallel  construction  (par.  52),  and  then  gradu- 
ally more  and  more  contrasting  (par.  53). 

Rhythm  diversified  (but  regular) ;  all  the  species  of  Measure  prescribed 
in  Lesson  1;  diiTerent  major  and  minor  keys,  alternately.  An  occasional  vest 
may  be  inserted,  chiefly  at  (after)  the  semicadonce. 

Review  the  note  to  Lesson  1;  and  par.  39.  Avoid  monotony.  Sing,  and 
then  play,  each  melody,  when  comi^leted. 


After  correction,  some  of  these  Period-melodies  may  be  harmonized. 
"Where  the  construction  is  parallel,  the  harmonization  of  the  Consequent  may 
differ  from  that  of  the  (melodically  similar)  Antecedent. 


CHAPTER    Vin. 


IRREGULAR     RHYTHM. 


54.  Review  par.  46  a,  thoroughly. 

The  disposition  of  various  time-values  is  Irregular,  when  the  conditions 
of  Regular  rhythm  are  violated,  namely, 

When  the  heavier  (comparatively  longer)  tones  in  a  measure  oc- 
cupy comparatively  light  lieats  or  beat-fractions  of  that  measure; 
and,  vice  versa,  when  the  lighter  tones  (brief,  subdivisions  of  beats) 
occupy  comparatively  heavier  pulses  in  the  group. 

For  illustration  (the  regular  forms,  Ex.  45,  are  here  repeated,  for  com- 
parison) : 


EXERCISES   IN   MELODY-WRITING. 


37 


regular. 


regular. . . .  irregular 

0  0a»»«\00000         \      0  0         0      0      0      0      \ 

uliir regular 


irregular 


0       0      0      0      0         0 

irregular 


1    /|  >  J.I  ^ 

regular  irregular 

1-]  .r^  j  }-= . 

slightly  irregular 


regular. . 


3  |J  Fj. 

irregular. 


(^) 


4-    ^       *' 
regular. 


A 


0-00      \    O        00 


00  JTJ  [etc. 
J      J^    «i  J     I 


A  A  I     A  I  I     '^  '^  I 

ij     II    hiMiIni     nil 

inegular  ."?T!^ 

A A__ ,      I         ,      i      A  ,      I      A  ,1 

n  n  1^^^     I     J     I     J  I         i  letc. 

0    0      0         0    0  0000       0\0\0  0         0      \      0         0      \^^- 


A  A  I     A  A  I    A  I 

J  Tj  J. /I  J  J.  J  J  J  /J  J  J  /h 


irregular. 


(^^l     1.        J  / 


regular. 


J  ; 


A 

0    • 

A 

J  J  ; 

1      A                      A 

e.c.     1   J      ,^   J  _ 

A 
• 

J    >J 

Jj  ;   J  ;  ;  h*"- 

In  other  words :  if  tlie  tone  upon  the  first  beat  (or  any  other  accent)  is 
longer  than,  or  at  least  as  long  as,  any  other  tone  in  the  same  group  (measure), 
the  rhythmic  disposition  is  Regular, — otherv/ise  Irregular. 


38 


EXEKCISES   IN    MELODY- AVKITING. 


55.  Tlie  degree  of  in-egnlarity  depends,  of  course,  upon  the  degree  of 
discrei^ancy  between  the  length  of  the  tone  and  the  comparative  dynamic 
quality,  or  length,  of  the  beat  or  beat-fraction  upon  whicli  the  tone  is  mis- 
placed. For  instance,  ujDon  a  jjulse  entitled  to  an  8th-note  only,  it  is  more 
irregular  to  locate  a  J -note,  than  a  J -note.  In  Ex.  51c,  measure  5  is  more 
irregnlav  than  measure  6,  or  measures  3  and  4. 

5C.  f'l)  Irregi;lar  rliythmic  figures  are  never  objectionable,  excepting 
when  isolated, — and  not  ahvays  jjositively  wrong,  even  then,  though  usually 
so.     In  other  words, 

An  irregiilar  rhythmic  figure  may  always  be  justified  b?/  recurring; — 
either  immediately,  in  the  next  following  group  or  measure;  or  in 
some,  not  unreasonably  remote,  corresjyonding  measure; 

namely:  measures  1  and  3,  or  2  and  4,  of  the  four-measure  Phrase;  and 
measures  1  and  5,  2  and  6,  3  and  7,  or  4  and  8  of  the  eight-measure  Period. 
For  example: 


1.  Moderate. 
1. 


Ex.  52. 


,PBl 


D-miiior. 


rectified,  iu  fol- 
lowinii  measure. 


V 

Schumann. 


it 


:F 


m 


reounei.ce  in  corresponding  measures. 


:p: 


-/S-- 


(par.  120  a) 


S 


2.  Allerjretto 


Mendelssohn. 


-4-ff- 


G-major.  1 — irie 
3.  Lento. 


^ 


J        Lrectified  by  recurrence.. 


_e 


it       ♦.- 


^       -#• 


J  V 

_  Chopin. 

t= 


i 


I — irres. 


B-uiiuor. 
4=.  Allegro. 


recurrence  in  corre- 
sponding measures. 


"Wagner. 


I — irreg 
C -major. 


-a 1 — •-» •- 


-^ — 0- 


M 


J  Lrecurreucc. 


5.  Allegro. 

(Ex.  21-2). 


=t= 


C -major. 


.j^-^. 


-1^ — 


ij:- 


EXERCISES  IN   MELODY-WKITING. 


39 


Wagnek. 


-«i^=~i^ 


:t= 


s 


rpciirreuce,  corre- 
spouiliug  measure. 


6.  Allegretto. 
(par.  37) 


Bketiiov'rx. 


F.     Liireg. 
7.    Andante, 


Handel. 


m 


-;^- 


G.  Lirreg.- 

S.     Yigoroso. 


J      Lrecurr.- 


-^ ^- 


Schumann. 


m 


^E^E?=E 


-^ 


^^ 


C.     Lirreg. - 
9.    Allegro. 


-^i-^- 


-recurrences. 


-^- 


Beethoven. 


'Z,  ^  '  e    _m 


IB 


I — irreg. 


Lrecurreuce.- 


See  also,  Ex.  36,  No.  10;   Ex.  54,  meas.  6,  7;  Ex.  58,  No.  5;  Ex.  62,  Nos.  1  and  2;   Ex.  80,  No.  2- 

Ex.  100,  Nos.  2,  7:  Ex.  117,  No.  11;  Ex.  129,  No.  13. 

Examine  "  Tone-Kelations,"  Lesson  13,  No.  4;  16,  No.  2;  32,  Nos.  3  and  4 ;  35,  No.  3.i 

(^5^  niustrations  of  a  very  common  rhythmic  irregularity  in  triple 
measure,  which  appears  to  demand  no  justification  (m*  f  I*),  are  found 
in  Ex.  32,  No.  5  (end);  Ex.  55,  No.  2  (end);  Ex.  56,  No.  2  (end);  etc. 


LESSON    9. 

A  large  number  of  4-mea8ure  and  8-measure  melodies,  with  Irregular 
rhythmic  measures,  according  to  the  above  rules, — particularly  par.  56.     It 
will  be  well  to   limit   this   exercise   to  occasional  rhythmic   irregularities 
introduced  in  Phrases  or  Periods  of  an  otherwise  regular  and  simple  design. 
Extreme  irregularities  (par.  55)  should  be  avoided. 

Use  the  varieties  of  Measure  prescribed  in  Lesson  1;  diiferent  major 
and  minor  keys,  alternately. 

At  first,  experiment  with  former  melodies,  modifying  their  rhythm 
without  altering  the  tones.  Then  invent  new  ones,  with  immediate  ref- 
erence to  Irregular  rhythm. 


10 


EXEBCISES   IN   MKLODY-WKITING. 


CHAPTER    IX. 
EXCEPTIONAL    SEMICADENCES. 

57.  The  Semicadence,  in  the  center  of  the  Period-form,  may  be  made, 
somewhat  exceptionally,  uj^on  some  other  than  the  tones  of  the  Dominant  Triad 
(prescribed  in  par.  51  a). 

Any  scale-step  of  the  prevailing  key  may  be  chosen,  thus  to  end  the 
Antecedent  Phrase;  but  it  is  well  to  avoid  the  key-note  itself,  as  this  is 
needed  for  the  final  (perfect)  cadence.     For  example: 


Ex.  53. 


F#i*=^ 


G-major. 


'  AuLD  Lang  StneJ 


^i 


-^^- 


=^3 


4-=M- 


F-major. 


a^— *- 


*-*- 


m. 


"  Home,  Sweet  Home." 


^B 


latzit 


^*- 


In  Ex.  52,  No.  5,  the  cadence  of  the  first  Phrase  is  made  upon  the  Tonic ;  this  is  very  excep- 
tional, but,  of  course,  possible. 

58.  Further,  the  semicadence-tone  may  occasionally  be  shifted  to  the 
second  beat  of  the  group,  especially  in  triple  measure  (3/4,  3/8,  6/8),  instead 
of  falling  upon  an  accent  (first  beat  of  the  groiip)  as  j^rescribed.  In  this 
case  it  should,  as  a  rule,  be  preceded  (on  the  accent)  by  the  next  higher,  or 
next  lower,  scale-step,  as  obvious  grace-note.     Thus: 


Ex.  54. 


#— *- 


G-major. 


±=Fd=t=S 


=(=d^ 


EXERCISES  IN   MEIiODY-WKITING. 


41 


FOLK-SONG. 


(par.  56  6). 


See  also,  Ex.  36,  No.  14;  Ex.  57,  No.  2;  Ex.  58,  No.  1. 


LESSON    lO. 

A  number  of  8-measiire  melodies  in  Period-form,  with  the  exceptional 
forms  of  semicadence  explained  above. 


CHAPTER    X. 


SYNTAX    OF    MELODY. 

59.  The  succession  of  tones  in  a  Phrase  or  Period-melody,  may  be 
determined  by  a  broader  consideration  than  the  application  of  given  rules 
to  each  single  unit  of  the  melodic  succession;  namely, — by  the  princiiDle  of 
symmetrical  recurrence,  applied  to  an  entire  group  of  consecutive  tones. 

The  recurrence,  or  reproduction  of  the  group,  may  assume  the  form — 

(1)  Of  an  exact  Eepetition;  or 

(2)  Of  a  Sequence. 

60.  The  "  Eepetition  "  is  a  literal  recurrence,  upon  the  self -same  scale- 
steps.     Thus: 


1.  Moderato. 


Ex.55. 


^t=^' 


A—w—d- 


:q_q: 


-s—»- 


:ij=1: 


F.  \1 


.  rei)fnti()n 


FOLK-SONG. 


I 


i3.  Allegretto. 


T-t= 


-_iN- 


-^ — ■^- 


A.  L 


:S: 


M^ 


gioup 


;e 


(par.  56  6) 


BUAHMS. 


I 


42 


EXERCISES   IN   MELODY-WKITLNG. 


3.  Allegretto. 


BUAHMS. 


n^< 


C-uiiuor.  L: 


-fi-»- 


s=^ 


g^^E 


53: 


t^E 


repetition 


(isolated  rbytli.  irreg.). 


(jl.  The  "Sequence"  is  a  rei^rodiiction  of  the  group  of  tones  upon 
oihf.r  scale-steps,  a  certain  interval-distance  above  or  below  the  original  tones. 
Thus: 


1.  2[odcrato. 


MlCNIlELSfOIIX. 


Ex.  56. 


teEggEEf=EJ=g 


-^—^—0—0 — 0- 


n=tt=:-=:Fizpl: 

st-qiu-iice  ' 


^^^^£^ 


3  steps  higher. 


3.  Allegretto. 


Brahms. 


:a 


(par.  56  6) 


■27- 


1  step  higher. 


62.  The  initial  group  or  figure,  to  be  reproduced  in  either  of  these 
ways,  may  be  of  almost  any  length ;  but  it  is  frequently  exactly  one  measure, 
and,  in  any  case,  it  is  almost  certain  to  correspond  to  the  fundamental  rhythnic 
groups,  i.  e. ,  to  include  2,  4  or  8  beats  in  dujile  Measure,  and  3,  G,  9  or  12  beats 
in  triple  Measure, — similar  to  the  conditions  of  par.  37  (which  review),  and 
for  the  same  reasons.  Further,  the  group  may  begin  upon  any  beat  of 
the  measure.     For  illustration: 


(par.  56  a) 


FOLK-SONG. 


Ex.  57. 


1  step  lower. 


m 


--=4^i 


— ^- 


:^ 


i=»=b£; 


MOZAKT. 


H 


sequence,  1  step  lowei'. 


At  Ex.  55,  Ko.  1,  and  Ex.  56,  No.  1,  the  initial  figure  is  one  measure  long,  beginning  with 
the  last  (the  unaccented)  beat.  At  Ex  57,  Xo.  1,  it  is  very  brief, — one  .sliort  measure,  beginning 
•with  the  accent.  At  Ex.  60,  No.  1,  it  covers  two  measures,  beginning  with  the  second  beat  At 
Ex.  57,  No.  2,  it  is  veiy  long, — four  measures,  or  an  entire  Phrase.  At  Ex.  55,  No.  3,  it  begins 
upou  the  6tli  beat  of  the  9/8  measure. 

Illustrations  of  tlie  rare  recurrence  of  a  group  of  less  or  more  beats  than  the  fundamental 
rhythmic  group  contains,  are  given  in  Ex.  62. 


EXEKCISES   EST   MEIiODY-WRITING. 


43 


63.  The  recurrences,  by  Kepetition  or  Sequence,  may  take  place  at  any 
point  in  the  Phrase  or  Period;  though  they  are  most  common  at  the  begin- 
ning,— and,  in  any  case,  must  represent  corresponding  rliyilitnic  pulses  (beats 
or  measures),  as  indicated  in  the  last  clause  of  par.  56. 

In  Ex.  49,  measure  3  is  a  sequence  of  measure  2  (three  steps  lower) ;  and  measures  5,  6  and 
7  are  the  repetition  of  measures  1,  2  and  3,  that  constitute  tlie  "parallel  coTistruction  "  of  the 
^^hole  Period.  In  Ex.  50,  measure  2  is  a  sequence  of  measure  1,  and  measure  T  a  sequence  of 
measure  6.     In  Ex.  53,  No.  1,  measure  6  is  a  repetition  of  measure  2. 


64.  Besides  the  obvious  structural  merit  of  such  unified  formations, 
there  is  another  important  and  peculiar  advantage  involved,  namely : 

The  recuiTence  of  a  group  of  tones,  by  repetition  or  sequence, 
serves  to  rectify,  or  at  least  to  justify,  almost  any  irregularities 
of  melodic  succession  which  may  occur, 

(1)  At  the  point  of  contact  of  the  symmetrical  groups,  or, 

(2)  During  the  sequential  recurrence  of  any  perfectly  faultless 
initial  group. 

This  rule  is  analogous  to  that  of  par.  56,  in  reference  to  the  amelioration 
of  irregularities  of  rhythm, — by  symmetrical  recurrence.     For  illustration: 


Ex.  58.  - 


1.  Andante. 


bm=*: 


S 


(Ex.  43-0). 


GUIEG. 


-0-^0 


group 


¥^ 


G-minor. 
3.  Any  tempo.  (Ex.  31) 


(par.  566). 


(Ex.  16) 


3. 


r 


(Ex.  8) 

N.  B. 


«:i=t: 


C.     group 


-t==t= 


I 


seq. 


4=.  Lento. 


3e5 


li—*- 


D.     group 


(Ex.  29)  (par.  6c)  (par.  6  a) 

N.  B.  N.  B. 


-#—=—•- 


is: 


-•_i_«^_^_ 


irr^t 


N.  B.     sequence 


-#— * 


L.  Stark. 


•—. ^ 


0 


etc. 


5.  Allegro. 


Chopin. 


u 


EXERCISES   rN   MELODT-WEITING. 


65.  The  manifest  impoi'fcance  of  brief  rests,  at  the  end  of  the  symmet- 
rical ejroiips,  to  emphasize  the  effect  of  their  recurrence,  and  exhibit  the 
syntax  of  the  Phrases,  is  demonstrated  in  Ex.  47,  Nos.  1,  3,  4;  Ex.  56,  No.  2; 
Ex.  59,  No.  3;  Ex.  60,  No.  3. 

Eeview  par.  49,  and  see  also,  Ex.  49,  No.  1 ;  Ex.  50 ;  Ex  52,  No.  4 ;  Ex.  56,  No.  2 ;  Ex.  59,  Nos.  3, 
4;  Ex.  60,  No  3;    Ex.  64,  No.  3;  Ex.  95,  No.  3;  Ex.  100,  No.  1. 


LESSON    11. 

A  large  number  of  4  and  8-measure  melodies,  with  symmetrical  repeti- 
tions and  sequences  of  tone-groups,  as  explained  above. 


CHAPTER    XI. 

MELODIC    SYNTAX,    CONTINUED. 

REPETITION     AND     SEQUENCE,    MODIFIED. 

66.  The  recurrences  of  tone-groujis,  both  as  repetition  and  as  sequence, 
meed  not  be  thus  exact,  as  shown  in  the  preceding  chapter,  but  may  be 
modified,  or  varied,  slightly  (not  to  such  an  extent  as  to  render  their  recog- 
nition difficult  or  uncertain),  as  follows: 

(a)  By  adding  one  or  more  intermediate  tones;  —  possibly,  also,  by 
omitting  j^articles  of  the  initial  group  ; 

(b)  By  altering  one  or  anotlier  of  the  original  intervals  of  melodic 
succession, — widening  a  step-wise  progression  to  a  narrow  leap,  or  a  nar- 
row leap  to  a  wider  one,  and  vice  versa.  In  this  way  the  lines  of  the  initial 
group  are  somewhat  expanded  or  contracted,  but,  as  a  rule,  without  chang- 
ing the  original  direction  at  any  jDoint.     Thus: 


1.  Andante 


Chopin. 


F-niajor. 


3.  Moderato. 


FOLK-SONG. 


mod.  .leq. 


i 


EXEECISES  IN   MKLODY-WBITING. 


45 


3.  Allegretto 


FOLK-SONG. 


^isife^^ 


G.  ,  group 


(expanded) 
J         mod.  seq. 


(contracted) 
mod.  .seq. 


4r.  Allegro. 


Beethoven. 


S 


gig^zzg: 


3^i 


r^'-r-- 


i 


EE! 


-<9-^ 


N.  B.^^.#.         .^. 


-•— ^ 


^'^'   I  group 


modified  seq. 


P*ls 


5.  Allegro. 


Chopin. 


i 


CJf-minor. 


mod.  rep. 


G.  Lento. 


a 


-^— j- 


-#-jh 


G$-minor. 


group 


Bach. 


mod.  .seq. 


I  (Ex.  lOj. 


See  also,  Ex.  52,  No.  3,  measure  1  and  3 ;   Ex.  52,  No.  5,  measures  1  and  5 ;   Ex.  56,  No.  1,  com- 
pare last  4  tones  with  first  4. 


67.  Furtlier,  the  repetition  or  sequence  may  be  partial;  that  is,  con- 
sisting in  the  recurrence  of  only  a  jDortion  of  the  original  group.  For 
illustration : 


1.  Allegro. 

Ex.  60- [fc-^^—* 1 


(par.  66  6) 


:p: 


;^3=ig 


-•-T- 


A.     grnnp,  complete 


seq.  compl. 


-y- 


K.  B     portions  of  initial  group- 


BltAHMS. 


• r 


■a^ 


3.  Allegro. 


E^E 


-^ — I — 


-*-i_#- 


-(t-j—0. 


-^ — » 


Beethoven. 

1= 


s 


F.     group 


.  mod   .seq. 


partial  sequences 


46 


EXERCISES   IN    MELODY-WKITING. 


3.  Adagio. 


.^-^ 


Z 1- --t L^-i  -0-0- 

-0-  -0-  ,-0-' 

C-minor.  .    group 


l-H — ^ — ; 


seq.,  exact. 


Beethoven. 


:t:: 


-f=^=P=^^ 


'^ 


seq.,  contiiict«(l  ;it  f iid. 


partial  lep. 


68.  Furthei",  more  rarely,  tlie  repetition  or  sequence  may  appear  in  a 
different  rhythmic  form.  This  very  effective  mode  of  recurrence  is  com- 
paratively harmless  (not  jeoi^ardiziug  the  recognizability  of  the  original 
group)  :— 

(1)  If  the  STivi  of  beats  remains  the  same;  or 

(2)  If  the  sum  is  exactly  divided,  or  doubled,  so  that  the  prosodic  ar- 
rangement (of  accented  and  unaccented  tones)  is  not  altered.     Thus: 


1.  Any  tempo. 


2.  Allegro. 


Ex.  61. 


w^m^^mMm_ 


Beethoven. 

; — *. 


F.  l: 


mod.  seq. 


-L_«- 


c. 


group, 
6  l)eats 


seq. 
I  3  beats 


ditto     , 


3.  Lento.     (Ex.  58,  No.  4.) 


L.  St  A  UK. 


leEglEgggEEig; 


tiip; 


D.     group 


seq.  exact 


>-* 


seq.  niodifled 


:i=lzf3^ts==El 


.  seq.  mod. 


4..  Allegro.  (Ex.  52,  No.  4). 


TVagner. 


69.  Further,  still  more  rarely,  the  recurrence  by  repetition  or  sequence 
may  appear  in  a  different  rhythmic  location,  i.  e.,  on  other  beats  of  the 
measure.  This  shifting  of  the  measure,  and  consequent  alteration  of  the 
original  prosodic  effect,  is  a  very  misleading  device,  and  belongs,  properly, 
only  to  the  higher  ranges  of  composition;  for  a  time,  yet,  it  should  be 
avoided  by  the  student,  unless  he  can  succeed  in  obviating  total  confusion 
of  measure. 

It  may  result: — 

(1)  From  ?,-ac\\  imrtial  recurrences  as  were  shown  in  Ex.  60,  No.  1;  or 


EXERCISES   IN   MELODY-WIilTIXG. 


47 


(2)  From  adopting  a  group  wliicli  contains,  originally,  lesn  or  more  beats 
than  the  number  contained  in  a  fundamental  rhythmic  gioup. 

It  is  least  objectionable  when  the  irregular  recurrence  ajipears  several 
times  in  succession, — until  the  original  rhythmic  location  is  regained.  For 
illustration: 


Ex.  62. 


Schumann. 


^1 


-•— . 


acq 


3.    Allegro. 


Beethoven. 


li.  Allegro. 


-7h^^' 


:^ 


Beethoven. 


:i=t^ 


•— ^- 


-n—»—^ 


-_l I L_L 


::]=-__q=q=q: 


---x^- 


X^ 


-y-*-g- 


F-minor.        groups, 
I      2  beats 


seq. 


V-g-   -0- 
J         (par.  fcl). 


4=.     Alleu 

ro. 

H 

4.YDN. 

n  tt      f"*    - 

L^'f*']    f~ 

-r-r^^r  - 

P^*^3£5 

H 

LLJ_._lj_L_'_ 

*           '  ^  a 

-•-*  i-^:e:= 

II 

group.  5 
I  8th-ii(>tes 


seq. 


Rubinstein. 


PM 


6.  Allegro. 
(Ex.  35). 


4r^-^ 


^H^ 


group, 
2  beats 


1 I  I 

sequeuces,  exact. 


Chopin. 


m\i 


70.  Finally,  the  recurrence  may  be  modified  by  being  turned  bodily  in 
the  contrary  direction  (i.  e.,  upside  down).     This  is  an  excellent  device  and 


48 


EXERCISES  IN  MELODT-WKITING. 


shoultl  be  freely  exercised.  In  this  case,  particularly,  the  recurrence  should 
appear  in  corresponding  rhythmic  location  (not  shifted,  as  seen  in  Ex.  62, 
but  according  to  the  rule  of  par.  63) ;  and,  as  a  rule,  should  not  be  subjected 
to. any  further  confusing  modification  that  may  obscure  the  syntactic  pur- 
pose.    Thus: 


1.  "Lai  go 


Beethoven. 


Ex.  63. 


:!««: 


3.  Largo.      or: 


Brahms. 


3.  Any  tempo. 


,  coiit.  (lir. 


gronp 


=^^=d= 


cont.  dir 


0- — r 


11^^ 


ri= 


cont.  dir. 
mod. 


^m 


modified 


4.     (Ex.  52,  No.  2). 


g= 


group 


contr.  dir. 


Mendelssohn. 


i 


5.  Maestoso. 


ife=^^^S3: 


lE 


-#v#L 


ijz^^U- 


-i*-* 


J    onnt    dirpctioi 


Wagner. 


-1 F-»- 

:Et=t 


a 


6.  Yivace. 


Bizet. 


-N — ^ — •- 


^5 


orie:.  (]ir. 


itjd^: 


a<-— ^— *-* 


y.  Molto  moderato. 


Schumann. 


,  cont.  direction 


-^  group 


8.  Allegro. 
n  (par.  36) 


(par.  27  a) 


(28  a)      (26) 


:^ 


.  cont.  direction 
(par.  81) 

(26)        (28  a) 


:t=t=: 


B-minor. 


EXEKCISES  IN   MKLODY-WRITING. 

(Ex.  43) 


^ 


Brahms. 


See  also,  Ex.  7,  No.  4,  first  three  tones,  measures  1  and  3. 


LESSON    12. 

A  large  number  of  4  and  8-measure  melodies,  with  recnrrences  of  tone- 
groups,  by  repetition  or  sequence,  modified  in  the  manners  illustrated. 
Each  device  is  to  be  exercised  successively,  in  the  order  given  above. 
Major  and  minor  alternately;  various  species  of  Measure,  from  2/4  to  12/8, 
No  changes  of  key. 

After  correction,  a  few  of  these  melodies  may  be  harmonized. 


CHAPTER    XII. 

MELODIC    SYNTAX,   CONTINUED. 

THE    PERIOD,    RESUMED. 

71.  The  recurrence  by  Sequence  may  be  utilized  on  a  broad  scale,  as  a 
guide  for  the  movements  of  the  Consequent  Phrase  of  a  Period-form.  In  this 
case  again,  as  in  par.  52,  the  construction  is  "parallel,"  the  only  difference 
being,  that  "sequence"  is  substituted  for  ''repetition,"  in  the  conduct  of 
the  second  Phrase. 

The  sequential  formation  need  not  be  exact;  it  is  far  more  likely  to  be 
merely  an  approximate  guide  for  the  Consequent  Phrase.  And  it  need  not, 
generally  will  not,  extend  through  the  entire  Consequent,  but  through  a 
portion  only.     Thus: 


1.    Antecedent 


Ex.  64, 


50 


EXEECISES   nsr   MEIiODY-WEITING. 


3.    Antecedent 


?.t2^_- 1 \ i 


-P*- 


(charRB  of  key;  par.  81) 


:T 


:(?: 


:#): 


C-minor 


Consequent 


Mendei.sboiix. 


3,    Antecedent 


53^ 


Eb.  I  Proup 


-^— S- 


Consequent 

N.  B. 

:b=: 


^1 


=^=F= 


a  N.B. 


niz=!izi 


Mozart. 


:t=^zz^- 


a 


Sequence,  slightly  mod. 


See  also,  Ex.  57,  No.  2;  "Tone-Relations,"  Lesson  48,-3. 


jj_  B. — In  Nos.  1  and  2  of  the  above  example,  the  cadence-tones  are  not  defined 
according  to  the  rules  of  Chapters  VII  and  IX;  but  the  pupil  can  easily  (and  must,  yet 
awhile)  adjust  his  own  exercises  to  those  rules. 

73.  Analogously,  the  device  of  recurrence  in  Contrary  direction  (par.  70) 
may  be  applied  on  the  same  broad  scale,  to  tlie  construction  of  the  Conse- 
quent Phrase;— possibly  throughout  the  latter,  though  much  more  probably 
during  a  portion,  only,  of  its  length;  and,  almost  certainly,  with  some  free- 
dom in  regard  to  the  modifications  explained  in  par.  66. 

Such  melodies  are  known  as  Periods  of  "  op^osz7e  construction  " ;  com- 
pare pars.  52  and  53.     For  example: 


1.    Antecedent 


Consequent 

N.  B. 


Ex.  65. 


li^^^llil^lt^^^^a 


F-minor.  ,    proup 


3.  Allegretto. 


EXEECISES    IN    MELODY-WRITING.  51 

Mendelssohn. 


lieciirreuce,  lariiclv  in  cuiitr   diivction 


See  also,  "  Tone-Eelatio.ns,"  Lessou  18,  Ko.  7 ;  22,  No.  3  ;  27,  Ko.  1 ;  48,  No.  6. 


LESSON    13. 

A  large  number  of  8-measure  melodies  in  Period-form,  applying  the 
devices  of  sequence,  and  of  contrary  direction,  for  such  a  portion  of  the 
Consequent  Phrase  as  will  not  interfere  with  the  given  rules  of  the  ca- 
dences. 

The  extent  of  coincidence  (either  as  sequence,  or  in  the  opposite  direc- 
tion) is  to  be  shortened,  gradually,  in  the  later  exercises,  similar  to  the 
manner  dictated  in  par.  53, — until  no  more  than  brief  fi!:j:ui"es  (3  or  4  tones) 
of  the  Consequent  are  derived  from  the  corresponding  measures  of  the 
Antecedent;  —  not  necessarily  the  beginning;  the  derivation  may  occur  at 
any  point. 

Major  and  minor  alternately. 

All  si^ecies  of  Measure,  up  to  9/8  or  9/4. 

No  changes  of  key. 

Review,  carefully,  the  directions  given  in  Lesson  8,  and  apj^ly  them, 
where  suitable. 


CHAPTER    XIII. 
ALTERED    SCALE -STEPS;     MAJOR. 

73.  The  Scale-line  may  be  modified  by  the  chromatic  Inflection 
of  certain  steps  ;  or  by  the  Substitution  of  such  chromatically  inflected 
steps  for  the  corresi^ondiug  original  ones. 

N.  B. — A  chromatic  progression  is  the  inflection  of  a  letter,  by  means  of  an  Acci- 
dental 

The  chromatic  inflections  are  to  be  effectuated  strictly  in  accordaucQ 
with  what  are  known  as  the  "Altered  Scale-steps." 


52 


EXERCISES   IN    MELODY-WKITINGr. 


These  are  as  follows,  in  the  major  mode  (arranged  in  the  order  of  their 
frequency  and  excelleuoe): 


Ex.  66. 


;| 


Ori;:iiial  Scale-steps: 


K^- 


C-inajor,  throughout. 


Altered  Steps  (-\-  indicates  raised,  _  indicates  lowered): 

Less  common : 


-'f'^ 


rare: 


i^^i^l^^El^^i 


6th  Step,  4th  Step,  2d  Step,  5th  Step,  1st  Step,  6th  Step, 

lowereci.  raised.  raised.  raised.  raised.  raised, 

(marked  6  _)     (marked  4  -\-)  (2  -\-)  (5  -{-)  (1  ■]-)  (6  J-) 


74,  Summary:  Every  Scale-step  in  major  may  be  chromatically  raised, 
i.  e.,  inflected  w_^9M)a?v/,— excepting  the  3rd  and  7tli  Steps  (those  which  are 
followed,  in  ascending,  by  the  half-steps).  Only  the  6th  Scale-step,  how- 
ever, may  be  lowered,  i.  e.,  inflected  downward. 

75.  Every  altered  Step  in  major  may  appear, 

(a)  Either  as  direct  chrom.atic  inflection  of  the  original  Step,  that  is, 
preceded  by  the  latter;  thus: 


Ex.  67. 


Less  common  : 
h  ^-^  1  / 


=1: 


C-major,  throughout. 


6  ^" 


m^m^ 


See  Ex.  72. 


(b)  Or,  as  substitution  for  the  original  Step.  In  this  case,  the  altered 
Step  may  be  ajJi^roached  from  the  neighboring  Step, — best  from  that  one 
which  lies  nearest  the  altered  tone;  and,  as  a  rule,  so  as  to  avoid  the  interval 
of  an  augmented  2nd.     Thus: 


A. 


Ex.68. 


6  - 

:2*zz 


=1?^ 


C-major,  throughout. 


i 


IH-    I 6 + 


B.  rare: 


>- 


^^^^ 


m^ 


-0—^r 


^t= 


^1^1 


Augm.  2nds  (comp.  Ex  38). 


(c)  Or  the  altered  tone  may  be  approached  with  a  leap,  exactly  acoord- 
irig  to  the  rule  of  par.  28  a;  i.  e.,  with  a  ski])  from  any  not  unreasonably 
distant  tone  downward  to  a  raised  Scale-step  (because  of  ics  upward  resolu- 


EXEKCISES   EST   MELODT-WEITTNG. 


53 


tion, — par.  76  a);  or  from  any  tone  upward  to  the  lowered  6th  Step  (because 
of  its  downward  resolution).     Thus: 


(all  good)  (Ex.  72) 
4 


n 2— S_Z 

E..  69.  ^p^^^^=^^_'±^=^^^-\ 


E^^^ 


C-major,  throughout. 


(nil  pood). 


f'rfj  Fe?-y  rarely,  the  raised  tones  may  be  approached  with  the  opposite 
leap,  namely,  from  below, — in  the  direction  corresponding  to  their  reso- 
lution.    For  example: 


all  ?  ?  a*  + 


all??     2- 


Ex.  70.  -fe— - 


l^i^l^l^^l 


C-major. 


(e)  On  the  contrary,  the  lowered  6th  Step  (being  a  more  natural  inflec- 
tion than  any  other  of  the  altered  tones)  may  easily  be  approached  with  an 
irregular  skip,  from  above, — only,  however,  along  some  obvious  chord-line 
in  the  prevailing  key.     Thus: 


lood 


Ex.  71. 


i 


(Ex.  42) 


(Ex.  40) 


•P =^-l)nt-i?*^^ 

^£j^i^jZiiot:=tZZZb 


IV 
C-major 


IV  or 
V9 


??? 


?? 


I 


76.  (a)  The  regular  (to  a  certain  extent  obligatory)  progression,  or 
Resolution  (par.  7),  of  the  altered  Scale-steps  is  as  follows: 

The  lowered  Step  descends, — generally  step-wise. 

The  raised  Steps  all  ascenc?,— generally  step-wise,  i.  e.,  to  the  next  higher 
Scale-step.     Thus: 


Ex.  72. 


2H- 


=;^^=^-H A-  ~4»  "^  *-|=~=-=l>5^^ 


Hi#s*^#— 


y 


C-major,  throughout. 


(h)  Exceptions  :  The  lowered  6th  Step,  for  the  reason  given  in  par.  75  e, 
may  leap  upward  or  downward,  along  any  obvious  chord-line.  This  is  also 
possible  with  the  best  raised  Steps  (namely,  the  raised  4th  and  2nd),  but 
rare,   and  hazardous,   because  of   the   difficulty  of   confirming   an   obvious 


54 


EXERCISES  rN   MEIiODY- WRITING. 


chord-line,  without  cancelling  the  prevailing  key;   see  par.  77.     For  illus- 
tration; 


Ex.  73. 


(all  good) 


(no  chord) 


:t2*:: 


:<"■  =11712* 


^; 


lit 


:but:--2*: 


:4=tli 


C-major,  throughout. 


i'A 


-\ or:— [71^-— 


??•? 


* 


(Ex.  40) 


More  rarely : 

4H-  2 


Improbable  chord-lines,  in  C. 


i?^^^£^=^E0|=hr^ 


m^ 


? '? 


IV       ^ 

n 


IV 


ff   9  -J  ■.) 


fc)  Further,  the  raised  4th  and  2nd  Steps  are,  rarely,  pressed  chromat- 
ically downward  to  the  original  tones, — exactly  according  to  the  principle  of 
par.  10,  which  review.     Thus: 


Ex.  74.  - 


=^=^S^ 


(not  gb) 
C-major. 


N.  B.    g  _)- 


:t: 


I 


(not  eb) 


77.  The  inflected  tones  are  not  to  be  considered  as  changes  of  the  key, 
nor  allowed  to  cancel  the  prevailing  scale.  They  are  controlled  in  their 
movements  by  the  impression  of  the  given  key  (or  scale),  which  is  to  re- 
main the  same  throughout  each  Phrase  or  Period-melody, — for  the  present. 

For  general  illustration: 


Ex.  75. 


1.  Allegro 


:i 


-b* 


Bkethovkn. 


^-i 


— — I f-1— «- 


Ab  major. 


:b 


2.  Allegro. 


te 


Beethoven. 


Ab -major. 


(Ex.  68,  B) 


3.    Allegro. 

tit    5j- 1- 


:t=#i 


> — * 


■F 


E-major. 


=F 


^^Ei 


^ — * 


Schumann. 


— I  f2- 


1 


Chopin. 


-^ 


=F= 


:?-=t: 


4H-       -*-■#-    -^^ 


■<a^--»-h- 
? 1 


I 


A -major,  throughout. 


EXEKCISES  IN  MELODY-WRITING. 


55 


o.  Andante. 


SCHUBEItT. 


;--^- 


-^— ^- 


"i-R=S^=*=^i#= 


gS^i 


D-m;ijor.  tIiU)Uj;liout. 


t>-g-4>-^ 0-  f-g, 


G.  Moderate. 


'4^i 


A — g^-tf-=:^=4 


-^ 


:* — *— 7- 


-4 


71 


6  —  SCIIUBEItT, 


fcg— — I 9*-i tf— 


D  liiiijoi',  throughout. 


7.      Largo. 


Wagner. 


I:2=e=l;: 


■'-§•• — ?*-■ r- 


"V d 


(Ex.  74) 
Al7-major,  throughout 


:p=-4:: 


1^ — \-\ e—i — *-J-(S' u 


See  also,  Ex.  62,  No.  2  (cj) ;  and  glance  at  par.  88. 


LESSON    14. 

A  number  of  4  and  S-measure  melodies,  in  Major,  with  occasional  in- 
flected Steps.  The  alterations  must  not  be  so  brief  as  to  appear  to  be 
"grace-notes"  only,  but  must  be  obviously  essew^ia^  tones;  as  a  rule,  not 
less  than  a  full  beat  in  length,  occasionally  longer.  No  changes  of  key  are 
to  take  place  (jaar.  77). 

The  first  few  exercises  are  to  contain  the  best  altered  tones,  and  the 
regular  modes  of  treatment;  then  exjaeriments  may  be  made  with  the  more 
exceptional  forms.     Review  par.  9a;  par.  30;  par.  39. 


CHAPTER    XIY. 


ALTERED  SCALE-STEPS;  MINOR. 

78.  The  inflections  of  the  harmonic  minor  scale  are  as  follows  (in  the 
order  of  comparative  importance) : 


Original  Scale-steps. 
(Ex.  37) 


Altered  Scale-steps. 

7  - 


Ex.  76. 


5P^ 


I 


C -minor,  throu'ihout. 


4th  Step,       7:  h  Step,       Cth  Step,       2iid  Step, 
r^iibbd.  loweied.         raised.         lowered. 


56 


EXERCISES   IN    MELODY-WRITIXG. 


These  can  not  be  as  conveniently  summarized  as  the  altered  Steps  of 
major;  they  must  be  independently  memorized. 

79.  The  rules  for  their  treatment  are  nearly,  though  not  precisely, 
similar  to  those  governing  the  altered  Steps  of  major. 

(a)  The  raised  4th  Step  (which  appears  alike  in  major  and  minor)  is  the 
only  one  that  may  occur  both  as  chromatic  inflection  of,  and  as  substitution 
for,  the  original  Step;  i.  e. ,  it  may  be  introdiiced  chromatically  (par.  75a), 
or  from  the  nearest  neighboring  Step  (par.  75  6),  or  with  a  skip  from  any 
higher  tone  (par.  75  c).     Thus: 


Ex.  77. 


(all  trootl) 


(Ex.  68  B) 


te;^ 


C-mlnor,  tlirougliout. 


augm.  2nd 


(b)  The  other  altered  tones,  in  minor,  should  not  be  introduced  chro- 
matically, but  may  ajjpear  only  as  substitutions  for  the  corresponding  Steps; 
best  approached,  as  usual,  from  the  nearest  neighboring  Step.  The  intro- 
duction with  a  leap  is  more  rare, — excepting  in  the  case  of  the  raised  6th 
Step,  which  may  be  approached  from  any  higher  tone  (par.  75  c) ;  and  the 
lowered  2ud  Step,  to  which  a  skip  may  be  made  from  either  side,  along  the 
line  of  an  obvious  chord.     Thus: 


(only  thua) 
C-miiior,  tlirouixliout. 


Jl  -_ 


1 1 — ?#■ 

J- •,«-— 


(all  good) 
Only  as  changes  of  key  (Chap.  XV). 


II 


"I T" 


^sJsgjjMj 


II. 


80.  As  in  major  (par.  76  a),  the  raised  Steps  are  resolved  upward,  the 
lowered  Steps  downward, — generally  to  the  adjacent  Step.  A  few  excep- 
tions are  possible,  as  seen  in  the  following: 


Ex.  79. 


C-minor,  throughout. 


(only  thus) 


Exceptional. 


(par.  76  c) 


good 


EXERCISES  IN   MF.TiODY- WRITING. 


57 


For  general  illustration : 

1.    Allegro. 


Ex. 


'MzA 


:a=5: 


t: 


-#— ^ 


.^_f_t:r_^_l^:?: 


Beethoven. 


EE 


?^ 


E-minor. 


2.  Allegro. 


Beethovex. 


F-minor. 
3.  Fii'ace 


-^■^ 1* 


^m^ 


■MifXDELSSOHN. 


n--%^ 


^r:^*^:r:rci^ 


:fit 


I 


B-minor. 


\i 


4r.  Allegro. 


,  7- 


Mendelssohn. 

4-^      4^ 


;^^^^=f=|r^t=^^=^*i 


.^-^ 


G-miuor. 


5.  Allegro. 

-N- 


^r-.fr— ^ 


2  - 


-y>^- 


n'- 


G-minor.      n.  b. 
6.  Adagio. 


E 


-N- 


-T^' 


— #-*- 


^^„o--^^ 


Mexhelssohn'. 


^^__. 


B 


Eubixstein 

H 


-^,-#- 


( clnuiiie  of  kev 


E-minor 1^       par.  81      'jE-imnnr 

*  This  b-flat  is  a  non-essential  emlicllishiiig  toiu'. 
See  also,  Ex.  64,  No.  2  (Bft  in  2nd  measure,  FJ  in  7tli  measure). 


LESSON    15. 

A  number  of  4  and  8-measure  melodies,  in  Minor,  -with  occasional  in- 
flected Steps.  Review  par.  39;  par.  77;  and  alt  the  directions  given  in 
Lesson  14. 


58 


EXEBCISES  IN  MEIiODY-WKITINQ. 


CHAPTER    XV. 


MODULATION,   OR   CHANGES   OF   KEY. 


81.  A  melody  may  be  conducted  away  from  the  line  of  its  own  scale, 
into  that  of  some  other  key.     This  effects  a  so-called  Modulation. 

The  change  of  scale  may  be  permanent,  or  it  may  be  only  temporary. 
In  the  first  case,  the  melody,  after  passing  over  into  the  new  key,  makes  its 
perfect  cadence  upon  the  Tonic  of  the  latter.  (See  "Tone-Relations,"  all 
of  Lessons  38  and  39.)  When,  on  the  other  hand,  the  modulation  is  tem- 
porary (or  transient,  as  it  is  called),  the  melody  follows  the  line  of  the  new 
scale  only  for  a  time  (a  few  beats),  and  then  returns  to  the  original  key. 
(See  "Tone-Relations,"  all  of  Lesson  40.) 

82.  EuLE  I.  —  The  original  scale  should  be  exchanged  only  for  that 
of  a  next -related  key.  Of  these  there  are  five,  namely:  one  with  the  same 
signature,  two  with  the  next  higher,  and  two  with  the  next  lower  signature 
(i.  e.  one  sharp  more  or  less,  or  one  flat  more  or  less).     Thus: 


From  C-major  (3 -signature),  into 


^  a-minor  (^-signature 
jxG-major(J 
s'—ie-minor  (J         " 
1*^  F-major  (|7         " 
X  d-minor  (|7         " 


^  A-major  (3if-signature 
r^E-major  (4J 
Or:  from  fJJ-minor  (3J-signature),  into  <^  — cij-minor  (4^         " 

|*s,D-maj<)r  (2^ 

^b-minor   (2J         " 

^  f-minor     (4|?- -signature 
t  ^  Et7-m  a j  or  ( 3[7'         " 
Or:  from  AlT'-major  (4b'-signature),  into  <^  c-miuor    (St*^         " 

(•^  Dt^-major  (5t^ 
^  b|7-minor  (5l7         " 


N.  B. — Capital  letters  indicate  major  keys  ;  small  letters,  minora. 


83.  RuiiE  II. — The  change  of  key  may  be  made  at  any  point  in  the 
Phrase,  upon  either  an  accented  or  an  unaccented  beat.  But  it  must, — at 
present, — take  place  after  one  of  the  three  tones  xohich  constitute  the  Tonic  chord. 


EXEECISES  IN  MELODY-WKITING. 


59 


i.  e.,  either  after  the  1st,  the  3rd,  or  the  5th  Step  of  the  momentary  scale 
(namely,  the  Inactive  steps,  par.  5).     Thus: 


Ex.  81.  - 


||e 


^t=F 


nnto  either  one- 
-of  the  five  next  - 
"related  keys  — 


m 


C -major. 


C-major.. 


t 


intonext- 
^related— 
—keys.  — 


II 


^   into  next- — i 

^^ related- 

gf — keya.  — 


C-major. 


84.  Rule  III. — The  deflection  of  the  melody  into  the  desired  scale 
may, — after  reaching  one  of  the  Inactive  tones  indicated  in  Rule  II, — be 
effected  by  passing  through  any  one  of  the  five  tones  which  constitute  the  chord 
of  the  Dominant-9th,  i.  e. ,  either  the  5th,  7th,  2nd,  4th,  or  6tli  Scale-steps  of 
the  desired  key; — in  other  words,  an  entrance  may  be  effected  into  the  de- 
sired key  through  any  other  than  its  1st  ami  3rd  Scale-steps.  (Even  these  may 
be  used,  as  Avill  be  seen  in  time;  but  not  at  present.) 

The  most  powerful  of  these  "modulatory  tones"  is  tlie  7tli  Scale-step 
(the  so-called  Leading-tone) ;  still,  all  five  are  equally  adequate,  if  properly 
approached  and  properly  treated. 

85.  (a)  If  possible,  the  last  tone  of  the  first  key  (one  of  the  Inactive 
Steps  given  in  Rule  II)  should  be  transformed  menially  into  a  Scale-step  of  the 
prospective  key.  The  melody  then  runs  on,  from  the  footing  thus  secured  in 
the  new  scale,  in  exact  accordance  with  former  rules.     For  illustration : 


1.  C-maj. 


Ex.  82  A.  - 


1 


6 

G-raaj, 


3.  C-maj. 


:0 


5 

F-niaj. 


3.  C-maj. 


EE 


0 


^F=t 


(b)  The  most  satisfactory  result  is  gained  (as  far  as  the  melody  itself  i.s 
concerned)  by  using,  as  soon  as  tlie  new  key  is  entered,  a  tone,  or  a  groui?  of 
tones,  which  indicates  very  distinctly  the  Dominant  harmony  of  the  key, — 


60 


EXEECISES   IN   MELODY-WRITING. 


SO  that  the  Leading-tone,  or  some  other  tone  that  dlstiiigni>^h''s  the  new  Tcey 
from  the  preceding  one,  is  instantly,  or  very  soon,  introduced.  Ex.  82  A, 
No.  1,  would  be  more  dfji/iite  thus: 


Ex.  82  B. 


El 


:t=^ 


-(V)- 


I 


-not  as   (rood,    thus; 
but  possible  (Ex.  7) : 


;^ 

S''  A « 

— # — 

0 

<» 

0 

• 

?==H 

fitt^ 

No  3         1- 

0 

— 1 — 

,' 

1 

— ^1 

1 

1 

rl 

•^ 

r 

2 

7 

86.  If  this  mental  transformation  (par.  85  a)  is  not  possible:  that  is,  if 
the  last  tone  of  one  scale  does  7iot  belong  to  the  coming  hey,  then  a  chromatic 
progression  will  need  to  be  made,  at  that  point, — by  simjily  inserting  an 
accidental  (see  par.  73,  N.  B.).     Thus: 


Ex.83. 


3E 


^Ex.  81-3) 


1) 


t 


87.  (a)  If  such  a  chromatic  movement  be  necessary,  it  should  be  fore- 
seen, and  properly  approached,  i.  e.,  in  the  corresponding  direction.     Thus: 


Ex.  84. 


:e=t: 


^-& 


'S^- 


7 
d-minor. 


B 


Not  as- 

r good- 

1 thus:— 


m 


(b)  Or,  the  chromatic  ijrogression  may  be  prepared  by  a  wide  leap  from 
the  opposite  side,  involving  a  change  of  direction,  according  to  par.  26. 

Thus: 

c 1  c 1      _ 


Ex.  85.  ifetzf =n— ts^ 


:  -gg— >-  -*-e.tc.  -fe-^— — j ^-  -~— Z— H— --etc  fl 

3-- li 0 — * ^  — l-u  — g — « — ^ iU 

7  -<-       ^tf- 


EXEKCISES  IN  MELODT-WKITING. 


61 


xej  Or,  finally,  the  chromatic  iuflection  may  he  avoided,  in  the  melody 
itself,  by  moving  step-wise  in  the  opposite  direction.  This  involves  tlie  as- 
sumption of  a  Diminished-7th  chord  (i.  e.,  the  Incomi^lete  Dominant-Qtli,  in 
its  minor  form), — where  the  new  key  V)egins;  and  implies  that  the  chromatic 
tone  is  taken  up  in  some  other  part  of  the  harmonic  body.     Thus : 


-|  (conip  Ex.  84-2) 


Ex.  86.  - 


j=- 


=1: 


-^ 


B 


(comp.  Ex.  85-1) 


I 


^3 


*— *: 


— 0- 


*— r 


:E=i± 


For  general  illustration  (capitals,  major;  small  letters,  minor] 


Ex.  87. 


1.  Moderate 

:zk P=- 


Ef2- 
2.  Allegretto. 


J        Bfe- 


Bach. 


Beethovex. 


zT^E — K^^5i 


^i^* 


=i=^^ 


^^^ 


=!z^=i-^-s- 


i 


(par.  88) 


3.  Allegretto. 


te 


Beethoven. 


^^ 


1= 


eeHS 


s 


=t= 


-l — »-^«- 


f=t 


i^ 


B 


Eid=^ 


4r.  Allegro. 


(par.  87  a) 


(par.  88)        Beethoven. 


88.  Whether  the  foreign  tones  in  a  melody  are  merely  inflected  Scale- 
steps  (i.  e.  altered  tones),  or  the  indicators  of  Modulation  (i.  e.,  change  of 
entire  scale,  into  that  of  another  key),  depends 

(1)  Partly  upon  the  location  of  the  foreign  tone  in  the  prevailing  key; 
for  in  order  to  serve  as  altered  Step,  it  must  conform  to  the  lists  given  for 
major  and  minor  in  Exs.  66  and  76.     But, 

(2)  It  also  depends,  much  move  largely  (very  often  entirely')  r^^on  the 


62 


EXERCISES  IN  MELODY-WKITING. 


option  of  the  composer,  who,  in  the  majority  of  cases,  may  treat  the  foreign 
tone,  in  his  hnrmonization,  either  as  momentary  inflection  (without  abandon- 
ing the  key),  or  as  a  modulatory  tone  (passing  on  into  the  corresponding 
new  scale). 


LESSON    16. 

A  number  of  ^-measure  melodies  in  Phrase-form,  beginning  alternately 
in  major  and  minor,  with  one  (permanent)  modulation  in  each,  into  some 
next-related  key,  closing  with  the  perfect  cadence  upon  the  Tonic  of  the 
new  key.  Ex.  86,  No.  2,  may  serve  as  a  general  model.  Every  species  of 
Measure,  from  3/8  to  12/8;  the  rhythm  freely  diversified.  An  occasional 
altered  Step  may  be  introduced. 


CHAPTER    XVI. 
MODULATION,   CONTINUED. 


89.  The  process  of  modulation  is  precisely  the  same  for  transient 
changes  of  key,  as  for  the  permanent  ones  illustrated  in  the  preceding 
lesson. 

(a)  In  phrases  in  the  smaller  varieties  of  Measure,  only  one  transient 
modulation  is  feasible,  as  a  rule;  i.  e.,  the  melody  passes  soon  into  one  of 
the  five  next-related  keys,  and,  after  a  few  beats,  returns  and  closes  upon 
the  Tonic  of  the  original  key.     Thus: 


Schubert. 


Ex.  88. 


3,  Allegretto. 


rih: 


::4^ 


?-W-?— 1- 


Beethoven. 


^5^ 


(b)  In  the  larger  species  of  Measure  (6/8,  9/8,  12/8),  two  or  more  tran- 
sient modulations  may  be  made  in  one  phrase;   only,  however,  among  the 


EXEECISES   IN   MELODY-WKITTNG. 


63 


5  next-related  Aeys  of  the  original  scale,  and,  in  each  case,  returning  to  the 
latter  and  cadenciug  uj^on  its  Tonic,  as  usual.     Thus: 


1.  Allegretto. 


irbc  ^^.      * 


Ex.  89. 


m^ 


t=F 


t=t:=t: 


-I  F- 


^-0- 


Beethoven. 
(par.  92) 


LI   d- 


1  r^ 


-f-^-etc. 


->— 


(G- 


3,  Allegretto. 


Beethoven. 


EE 


rf~^ 


-iri^—r 


!5-^^ 


«?^- 


J     C- 


3^1^ 


-0 — w 1 *J 


LESSON    17. 

A  number  of  4-measure  melodies  in  Phrase-form: 

A.  In  the  smaller  species  of  Measure,  with  one  transient  modulation, 
and  return  (par.  89  a). 

B.  In  larger  Measures,  with  two  or  more  transient  modulations,  and 
return  (par.  ^  b). 


CHAPTER    XYII. 


MODULATION,    PEKIOD-FOKMS. 

90.  Changes  of  key  may  occur  in  the  Period-form,  at  any  point  in 
either  Phrase;  but  they  are  likely  to  have  especial  bearing  upon  the  semi- 
cadence,  which  may  be  made  upon  either  one  of  the  three  tones  of  the  Tonio 
Triad  (Steps  1,  3  or  5)  of  a  next-related  key. 

The  best  and  most  common  keys  selected  for  the  semicadence  are, 

The  Dominant  key  (one  sharp  more,  or  one  flat  less,  than  the 
original  signature);  and 

The  Relative  key  (the  same  signature). 

The  Dominant  key  is  particularly  appropriate  for  the  semicadence  of 
Sl  Period  beginning  in  major;  the  Relativo  k(^y  for  one  beginning  in  minor* 


64 


EXERCISES   IN   MELODY-WRITING. 


though  both  are  possible  for  either  mode, — and  other  next-related  keys  also. 
The  most  unusual  is  a  semicadence  in  the  Subdominant  key  (one  flat  more, 
or  one  sharp  less,  than  the  original  signature).     For  illustration: 


1.  Moderato. 


AiitecetleTit. 


Ex.  90. 


ms^ 


-•— ^- 


:>— =: 


4,_^-_. 


m 


conseq. 


Schumann. 


*3EE?E 


I 


2-    Andante. 


±1FT 


3^£H^ 


(overlapping  Scale- 


m 


-Mzi^Lifz 


0—^ 


EESEE 


g-minor- 


Bb- 


linea;  see  par.  93) 


c:fcd2i 


Beethoven. 


33 


-m 


-0-^ 


-#-«-«^ 


-0-0* 


»-«- 


-•-*— ^ 


#-«-  -| »-F 1 1 r 

yJI_^[::^zE=! 


Bb- 


During  the  Consequent  Phrase  any  transient  modulations  may  be  made, 
but  the  final  cadence  must  fall  upon  the  Tonic  of  the  original  key. 


LESSON    18. 


A  nnmber  of  8-measure  melodies  in  Period-form,  according  to  the 
directions  given  in  Chapters  VII  and  IX,  containing  modulations  (and 
occasional  altered  Steps)  as  explained  above.  Every  species  of  Measure; 
major  and  minor  beginning,  alternately. 


EXEBCISES  IN   MELODY-WRITING. 


65 


CHAPTER    XVIII. 
MODULATION,    CHKOMATIC. 


91.  The  change  of  key  may  be  effected  contrary  to  Rule  II  (par.  83), — ■ 
namely,  after  other  than  the  Inactive  1st,  3rd  or  5th  Steps  of  the  key, — on 
condition 

That  the  melody  progress  cliromntlcrdly,  from  the  Step  chosen  to 
close  the  first  key,  into  a  proper  tone  of  the  desired  key  (Eule  III, 
par.  84).     Thus: 


(reg.) 


Beethoven. 


Ex.  91. 


g=E^=^^^= 


^=±=^ 


J         G- 


*^— ^ 


I 


3. 


Beethoven. 


4H_(pnr.  8S) 


^=±=t==^=F 


:bt 


Bk- 


Eb- 


--^=-% 


^^^- 


1 


J      Bk- 


3Ea 


fi  ^^      a.  T 


t-ft»^i»= 


-^-etc 


5 


J      b- 


J      a- 


J      e- 


4r.    Allegro. 


-g-^ — * — ps» — ^— ^ 


:^^= 


-O-i h 


J  G- 


-0 • -]= «- 


_« — o- 


ees 


Beethoven. 
-fe» 1— fe»— 


; — N.  B. 

J  Bb- 


f5.    Andanfe. 


Mendelssohn. 


■^ 


EE: 


-*-= # — e- 


r — r 


»=z=pi 


:i^=t=t: 


-^ — h 


J=^0~ 


i^=t: 


i 


66 


EXERCISES   IN   MELODY-WRITING. 


LESSON    19. 

A  number  of  4  and  8-measure  melodies,  illustrating  this  device  of  chro- 
matic modulation.  Begin  in  major  and  minor  alternately;  all  species  of 
Measure  (2/4  up  to  12/8). 


CHAPTER    XIX. 
OVERLAPPING    SCALE-LINES. 

92.  General  exceptions  to  the  three  rules  of  modulation  given  in  Chap- 
ter XV  (especially  II  and  III)  may  be  justified  by  mentally  transforming  a 
certain  tone  or  tones  of  one  key  (uo  matter  which  scale-steps  they  repre- 
sent) into  some  plausible  Step  or  Steps, — if  possible  into  more  urgent  and 
suggestive  ones, — of  the  desired  next-related  key,  and  then  continuing  along 
the  new  line,  without  the  formal  observance  of  strict  rules  of  modulation. 
This  may  even  apply  to  some  more  distant  key,  if  melodic  conditions  are 
favorable. 

93.  Such  overlapping  of  scales, — a  very  common,  but  more  diCicult 
and  exceptional  method  of  modulation, — represents  the  aiDplication  of  par. 
85a  in  a  broader  sense,  and  is  based  upon  the  general  principle  that  a 
change  of  hey  may  always  be  effected  at  (or  through)  any  tone  that  is  coniTnon  to 
both  keys  concerned; — especially  when  two  or  more  such  common  tones  appear 
in  succession,  so  that  the  lines  of  the  keys  overlap  for  a  number  of  beats 
(see  Ex.  90,  No.  2,  which  illustrates  the  point  very  strikingly) ; — or  where 
there  is  a  pause  ia  the  melodic  movement  (a  tone  of  comparatively  long  dura- 
tion), which  affords  time  to  apprehend  the  transformation  (Ex.  92,  Nos.  3 
and  5;  Ex.94,  No.  5). 

This,  it  is  true,  will  usually  result  as  a  matter  of  course  from  the 
application  of  the  strict  rules  given  in  Chapter  XV;  but  it  has  a  much 
wider  operation,  and  extends  to  many  cases  not  included  in  these  rules. 
For  illustration: 


1.  Andante. 


SCIIUBKllT. 


Ex.  92, 


3.  Allegro. 


(keys  not  next-rel.) 


->— 


£E 


Bb- 


-i9- 


SCHUBERT. 


1^1 


(pause) 


EXERCISES  IN  MELODT-WEITINQ. 


67 


4.  Allegro. 


Beethoven. 


(Ex.  66) 


^tzti-ii 


*r* 


i^jj^^iipiggp 


^^ 


5.  Allegro. 


(Ex.  66) 


Chopin. 


Dk- 


(pause I 


6.  Allegro  mod. 


E^IE 


#— -itT- 


•— 1^ 


! , « -^ U 


BUAHMS. 


-m   _,    T^F=J- 


•-* — — * — •- 


:1=a: 


r^^l 


^zzJz— ^ 


-•— *- 


j|S: 


8~77^ 


*--—_# 


-J 1 1 n 1 i^-^ 


-, — ^— J — 1  i-H 1 1 1 1 1 1 1 n 


Al2- 


bb- 


Beethovkn. 


:rtez^^t=:^i=:!lq=:j^==iq=d^=:t — ^^-|-«- 


i— ^ 


i 


bk_ 


Ab- 


8.  Largo. 


fe 


^5^ 


±=:t 


i^TT-.^-'-l^— fc* • -—' 


c — 


y. 


Chopin. 


w-% 


W 


-\ — m 


=i^ 


i^ 5*- 


-(f)- 


•W  -v  .-tr     -^ 


Ab- 


68 


EXERCISES  IN   MELODY-WEITIXG. 


94.  This  agreement  of  key-lines  is  frequently  turned  to  account  in 
substituting  the  opposite  mode  (i.  e.,  major  for  minor,  or  minor  for  major)  of 
the  key  toward  which  the  modulation  was  obviously  directed  according  to 
the  rule  of  next-relationship.  This  is  usually  an  easy  exchange,  because  the 
lines  of  the  corresponding  major  and  minor  keys  (i.  e. ,  corresponding  in 
key-note)  are  so  nearly  coincident.     See  Ex.  37.     For  illustration: 


Allegro 


(jiar.  95) 


Wacneu. 


Ex.  93. 


LESSON    20. 

A  number  of  4  and  8-measure  melodies,  with  modulations  througn 
common  tones  (by  overlapping  scales),  as  explained  above.  At  first  into 
next-related  keys  only.  Then  experiments  may  also  be  made  with  more 
remote  keys.  The  general  harmonic  (chord)  basis  must  be  kept  well  in 
mind. 


CHAPTER    XX. 


MODULATION  IN  SEQUENCES,   AND  AT  CADENCES. 

95.  The  broadest  range  of  exceptional  modulations  is  that  afforded 

(1)  By  sequential  recKrrences  (par.  64) ;  and 

(2)  By  taking  advantage  of  any  sufficiently  'well-define  I  pause,  or  break 
(or  cadence),  in  the  line  of  the  melody.  Sequential  ri^currencrs  g-euprally 
involve,  of  themselves,  such  "breaks"  in  the  melodic  line,— at  the  jxnnts 
of  contact.  The  "breaks,"  or  cadences,  may,  however,  be  created  by  many 
other  means.     For  example: 


Ex.94. 


1.  Allegretto 


Menpelssohn. 


(sequences-  all  next-rel.  key.s) 


KXERCISES   IN   MELODy-"WllITING. 


69 


3.  Largo. 


Beethoven-. 


V      I"    '  i^  '   V 


^  I  fT -' »-p# 0 f b,-~ ■-■ 


J      Bk I 


d(2-)- 


3. 


<;  — •— h— ^— ^— s— *H=i» *-l»-fe- 

H 1 \ 1 ^ — h — Ph- — • — I — *< — 90- 


\  -n — i \ 1 " — *-!-h'*l • — *- 


(sequences ;  ke^-s  remote) 


J     B I    Bl2 I     Al 


4.    Allegro. 


=^=1^ 


-, — 0- 


-%t- 


i§ 


:„»- 


(par.  64) , 


Beethoven. 


-'i^ 


-^^z # ,     t. 


I 


5.  Allearn. 


I 


PE=^ 


,*  .     f        ^:  •   U  '      T,^ .     ,  .V  b^  .   1,^  . 


=t=^- 


t^ 


J  G- 


J  f_ 


(par.  66) 


Beethoven. 


i 


-#-i — ^ 


;^P 


*  .        s  . 


I 


J  c- 


J  G- 


6.  Lento. 


-hh 


(par.  91) 


zSa: 


-4- — 0. 


~. ^-- 


3^r=3= 


I^-ti? — ^ 


Cf- 


#£^ 


Brahms. 


-1 -b 


^^gii^p3.^gEi 


70  EXERCISES    IN    MELODi'-WRITrNG. 

''•  ■^«"«''-  cad.  V 


FOLK-SOXG. 


P± 


\^^m^^m 


8.  Allegretto. 


S=453^=^,4t=& 


|^^:^^|,^_|^^: 


W 


n- 


J  E- 


Eb- 


Chopin. 


Eb  (2+)- 


-(1+)- 


See  also,  Ex.  91.  No.  4;  Ex.  92,  Nos.  3  and  4 ;  Ex.  95,  Nos.  4  and  5. 


LESSON    21. 

A  number  of  4  and  8-measure  melodies,  with  modulations  in  sequences^ 
and  at  cadences  or  interruptions,  as  shown  above.  The  transitions  may  be 
made  either  into  next-related  or  remote  keys,  at  option;  and  the  melodies 
may  close  in  any  key,— best,  however,  upon  the  original  Tonic.  All  species 
of  measure.  The  sequences,  and  all  breaks  in  the  line  of  the  melody,  must 
be  distinctly  defined. 

A  few  melodies  may  finally  be  made,  extending  beyond  the  regular  4  or 
8-measure  dimension  (5,  6,-'9,  10,  12  measures  in  length). 


CHAPTER    XXI. 

CHROMATIC    MELODY. 

96.  The  principle  of  chromatic  succession  enunciated  in  par.  91  may  be 
extended  to  a  longer  series  of  chromatic  tones. — generally  in  similar  direc- 
tion. Such  chromatic  lines  may  rejjresent  a  succession  of  brief  and  abrupt 
changes  of  key;  or,  as  is  far  more  likely,  they  may  embody  simply  the  prin- 
ciple of  altered  Steps  (Chapters  XIII  and  XIV). 


EXERCISES   IN   MELODY-TVKITING. 


71 


In  the  latter  case,  tliongh  tliey  assert  themselves  (by  their  time-values) 
as  essential  tones,  they  prove  to  be,  in  reality,  no  more  than  intermediate 
tones,  inserted  between  the  tones  of  certain  chord-lines  in  such  a  manner  as- 
not  to  overpower  the  impression  of  the  prevailing  key.     For  illustration : 


1.  Allegro. 


Ex.  95. 


& 


i 


X 

-0 — ^0- 


-F 1 ?T~I 1 , 1 1 


:t::=p: 


:t=q 


(y  raised  Scale-steps.) 


Beethoven. 


3.  Andante. 


Mendelssohn. 


^ 


3.  Allegro. 


i^ 


EBE 


e?  . 


(Ex.  106) 


:[=i=t 


-K— ^— ^ 


Bb- 


\r=Sz 


^^=t= 


itlF^ta 


MOZAUT. 


i 


(modulations) 

g  c_ 


Bl2- 


4=.  Presto. 


(par.  95) 


Mendelssohn. 


=^'^'^t-^^l^^f^^|^l^^=^^^ 


J       D- 


5.  Allegretto. 
(par.  38  c) 


(par.  95,  also) 


Chopin, 


72  EXERCISES  IN   MELODY- WBITING. 


LESSON    22. 

A  number  of  melodies,  4,  8  or  12  measures,  with  occasional  continuous 
chromatic  successions.  The  chromatic  tones  must  be  obviously  essential, 
each  not  less  than  a  full  beat  in  value;  and,  as  a  rule,  the  succession  should 
not  extend  beyond  5  or  6  tones. 


CHAPTER    XXII. 
THE    DOUBLE-PERIOD. 

97.  The  Double-period  generally  embraces  16  measures;  that  is,  four 
Phrases  of  four  measures  each,  closing  respectively  with  cadences  in  the 
4th,  8th,  12th  and  16th  measures.     Compare  par.  50. 

98.  (a)  The  first  of  these  is  a  light  semicadence,  and  may  be  made 
upon  any  Step  of  the  original  key,  as  no  modulation  is  likely  to  occur 
during  the  first  Phrase  of  this  longer  design. 

(h)  The  second  one  is  apt  to  be  a  perfect  cadence,  falling  upon  the 
Tonic  note  of  some  next-related  key, — best,  as  indicated  in  par.  90,  the 
Dominant  key  (most  commonly  in  a  major  melody),  or  the  Relative  key 
(usually  in  a  minor  melody);  or  jierhaps  the  Relative  of  the  Dominant;  veri/ 
rarely,  either  the  Sub-dominant  or  its  Relative. 

(c)  The  third  one  is  again  a  light  semicadence,  and  may  fall  upon  any 
tone  of  the  Tonic  Triad  (Steps  1,  3  or  5)  of  that  next-related  key  into  which 
the  melody  may  have  been  conducted;  for,  during  the  third  Phrase,  modu- 
lations may  be  freely  made  among  any  of  the  next-related  keys, — rarely  to 
remote  keys.  The  best  keys  for  this  cadence  are,  either  the  Sub-dominant 
or  its  Relative. 

(d)  The  fourth  Phrase  may  also  modulate  freely,  for  a  measure  or  two, 
but  must  then  turn  back  definitely  into  the  original  scale,  and  must  close, 
naturally,  with  the  regular  perfect  cadence,  upon  the  original  key-note. 

99.  (a)  The  designs  given  in  Chapter  VII,  in  reference  to  parallel  and 
contrasting  construction  (par.  52  and  53),  must  be  closely  followed  in  the 
second  half  of  the  Double-period  (i.  e. ,  Phrases  3  and  4) :  at  first,  the  whole 
of  Phrase  3  must  correspond  (perhaps  with  a  few  slight  changes)  to  Phrase 
1;  and  the  greater  part  of  Phrase  4  must  pursue  the  line  of  Phrase  3, — until 
the  necessary  difi'erence  of  cadence  asserts  itself. 

(b)  Then,  in  each  succeeding  example,  the  parallelism  is  to  be  dimin- 
ished gradually  until,  ultimately,  the  second  pair  of  Phrases  differs  entirely 


EXERCISES   IN   MELODY-WKITING. 


73 


from  the  melody  of  the  first  pair  (totally  contrasting  construction).     For 
illustration: 


Ex.  96. 


1.  Andayite  tra 

r  -^  it  ■ 

nquillo.  (Strictly  parallel  constru 
1.                            -^          , 

3tion  ) 

3. 

,4.v 

y-«'K^S-3- 

— 1 •«*- 

1      1 

'          -          H 

-1 

-\ 

3--^.-r- 

^ a       ' 

-s/ i- 

1— 

—'5' 

— 1—- 

"■ 

E-major,  Ibrou^iliout. 


E*i5*r 


(par.  58) 

8.  V 


3E3 


-T •- 


-*— ^- 


3^i 


-like!. — 


m 


10.  11.  12 


13  14 


Mendelssohn. 
15.  16. 


-Iike2. 


-like  3.- 


-Iike4 


-like  5.- 


-like  6.- 


:&: 


^ 


V        I 


F^n 


3.  Allegretto.  (Partly  parallel  construction.) 


:^=i 


r^^tEi 


25) •- 


like  Phrase  1- 


SCHUBERT. 


i^  ,   V 


:§=! 


I 


-25^- 


i^: 


-251 •- 


E^ 


-^-# 


I       G 


3.  Lento.     (Contrasting  constrnction./ 


:1=± 


(Ex   108)         V 


d-^-J-l 


=Sr-f=t 


h^— 4— y 


g;  *- 


iq'^i^: 


^v«>-y- 


-^-1-*         ^         *- 


Bb 


irb: 


m — ^ — PI 


-(Z 0- 


=t=F 


-*— g— a^- 


::1=1= 


* — 1^ — ^ 


3^^ 


F        1- 


i 


-g  I    I  It 


:t=::1: 


Mozart. 

J 


-|^       ^       ^- 


-• 5^ 


^ ^ ^ ^— 


-^  ^ 


74  EXEKCISES   IN   MELODY-WKITING. 


LESSON    23. 

A  number  of  16-measure  Double-periods,  according  to  the  above  direc- 
tions. Beginning  in  major  and  minor  alternately;  modulating  at  option; 
the  principal  species  of  Measure  (3/1,  4/4,  6/8,  3/8,  6/4,  3/2,  9/8). 


The  harmonization  of  these  melodies,  after  correction  and  approval  hj 
the  teacher,  may  be  undertaken  by  pupils  familiar  with  the  process. 


EXERCISES  IN  MEXiODY-WKITING.  75 


DIVISION    TWO. 

UNESSENTIAL,    OR    EMBELLISHING,    TONES. 


CHAPTER    XXIII. 

DISTINCTION    BETWEEN  ESSENTIAL  AND  UNESSENTIAL 

TONES. 

lOO.  Not  all  the  tones  in  a  melody  need  be  essential,  i.  e.,  calling  for 
special  consideration  in  the  process  of  liarmonization.  Many  tones  may  be, 
and  generally  are,  no  more  than  unessential  adjuncts  of  the  principal  (i.  e., 
the  essential  or  important)  tones,  which  latter  they  merely  serve  either  to 
connect  or  to  embellish. 

Such  emliellishing  tones  have  appeared  in  many  of  the  foregoing  ilhistrationa,  simply  be- 
cause their  employment  in  composition  is  so  common  that  but  very  few  example.s  could  be  found 
in  which  they  are  absent. 

The  distinction  between  Essential  and  Unessential  tones  is  determined 
very  largely  by  their  length ;  usually,  a  tone  of  the  value  of  a  full  beat  is  a 
principal  or  essential  one;  and,  of  two,  three,  or  four  quick  tones  that  con- 
stitute the  subdivisions  of  a  beat,  one  or  more  are  almost  certain  to  bo 
unessential. 

But  this  is  only  the  general  distinction, — the  true  one  depending,  aftet 
all,  upon  the  relation  of  the  tones,  whether  short  or  long,  to  the  prevailing 
chard-line.     For  illustration: 

1.  (all  essential)  3.  (x  nnessential) 


Ex.  97.  - 


|2- 

C   I     V     I     V  I  I 

C   I V 


This  being  the  case,  it  follows,  here  again,  that  a  melody  must  be  de- 
signed with  strict  regard  to  some  harmonic  basis,  or  subconscious  chord- 
concept.  (Review  pars.  15,  23,  38.)  The  tones  which  agree  with  the  momen- 
tary chord  are  the  essential  or  harmonic  tones;    those  which  dififer  from  it 


76 


EXERCISES   LN   MELODY- WKmNG. 


are  unessential  embellishing,  or  inliarmonic  tones.     Thus  devised,  or  thus 
articulated,  a  melody  is  easy  to  harmonize. 

THE    SUSPENSION. 

lOl.  EuLE  I. — Any  tone  tvhicJi  progresses  step-ivise  (along  the 
scale-line,  or  chromatically)  may  be  tied  to  the  following,  next  lower  or 
higher,  tone,  and  thus  be  held  over  during  a  fraction  of  the  value  of  the  lat- 
ter, as  embellishment  by  Suspension.     Thus: 


Ex. 


^i 


V- 


Original  line- 


:t=F= 


-a— 


-^^ 


Embellished  with  the  Suspension  (a.) 


:S^=F 


T-i-iJ- 


I 


•^ 


F=t=F= 


OiE 


i-— It 


^ii=4:=F=l=t 


}3^H 


:p: 


f=t 


t=f=t 


t^ 


original  line embellished 

This  device  is  as  simjile  as  it  is  effective;  and  its  result  is  invariably 
good,  unless  it  be  applied  during  some  very  irregular  melodic  progression, 
which  the  Suspension  would  probably  aggravate. 

102.  (a)  As  a  rule,  the  Suspension  may  best  be  introduced  in  descending 
step-wise  progressions;  but  it  is  also  good  in  ascending  step-wise  succes- 
sions, especially  Avhen  apjilied  to  tones  which  have  a  natural  upward  ten- 
dency, like  the  7th  scale-step  (Leading-tone),  or  raised  Steps. 

(b)  The  obligatory  movement  of  the  Suspension  forward  into  the  essen- 
tial tone,  is  its  Besolution  (par.  7). 

(c)  If  irregularities  of  rhythm  result,  they  may  be  redeemed  by  recur- 
rence, precisely  as  shown  in  par.  56  a;  see  Ex.  100,  Nos.  2  and  7. 

(d)  Instead  of  using  a  tie,  the  tone  may  be  struck  again,  as  repetition: 

(Ex.  98-7) 


Ex.  99.pAr\ — I — 


-^— #- 


EXEKCISES  IN  MELODT-WKITENG. 


77 


And  in  fact,  in  this  form  it  may  signify  no  more  than  simple  tone- 
repetition,  as  indicated  in  par.  9  a,  and  practiced  freely  in  all  the  preceding 
lessons. 

(e)  "When  applied  to  single  tones  in  a  measure  or  pronp,  the  best  gen- 
eral effect  is  obtained  at  accented  beats  (as  in  Ex.  98,  Nos.  2,  6  aiul  9,  and  in 
the  majority  of  the  following  illustrations).  But  it  is  ]iossible  at  the  begin- 
ning of  any  beat,  especially  when  occurring  repeatedly,  eitlier  in  immediate 
succession  (Ex.  99),  or  as  recurrence  at  corresponding  points  (see  par. 
102  c). 

(f)  If  the  tie,  or  reiteration,  is  applied  at  a  skip  in  the  melody,  the 
result  "will  not  be  an  inharmonic  Suspension;  but  it  will  b<^  correct  if  the 
tones  represent  some  good  chord-line.     For  general  illustration: 


1.     Allegro 

--y> 


Ex.  100. 


£eE^ 


EE: 


~^~\-^'~ 


Original  line- 


-O » 9 


embellished  with 


cliord- 
liiie 


-S—i'- 


-^^-^-ff-p- 


-"jl-^- 


SCHUUEUT. 


;o 


suspensions- 


2.  Allegretto. 


3.  Allegretto. 


-m^^9^ — H h- 


EEE^EEE: 


Ab-r 


r- 


Db-major. 


Repetition,  emb. 


78 


EXERCISES   IN   MEIiODT-WRITTNG. 


4,.  Lento. 


i^as 


^;;-etc.  -| — ^ 


(2_^ ^ 


m 


Original  fonu- 


em"b.  form 


SCHUBEltT. 


f>.  Moderato. 


SCHUBEUT. 


IB?. 


u. 


I 


Original  form- 


embellished 


G.  Largo. 


Beethoven. 


n  r-^ 


Afe 
7.  Allegro. 


8.  Andante. 


-e *- 


-^*-d ^^ 


Beethoven. 


-^^ 


I 


Mendelssohn. 


ffefe=^=r=? 


^— rt: 


"Tone-Relations,"  Lessous  57  and  58. 


LESSON    24. 

A.  Take  a  number  of  former  4  or  8-measnre  melodies,  and  embellish 
them  with  occasional  Suspensions,  Avhere  convenient  and  eflfective,  according 
to  the  above  directions  and  illustrations. 

B.  Invent  a  inimber  of  4  and  8-measure  melodies  (major  and  minor 
alternately)  with  special  application  of  the  Suspension.  Use  all  species  of 
Measure,  and  modulate  at  option.  The  pupil  must  not  only  hear  each  tone 
distinctly  as  he  writes  it,  but  must  endeavor  to  realize  the  chord-basis  also 
(i.  e.,  the  harmonic  accomijaniment). 


EXKRCISES   IN   MELODY-WRITINa. 


79 


CHAPTER    XXIV. 

THE    ANTICIPATION. 

103.  Rule  II. — Any  essential  tone  in  the  original  (simple)  melodic 
concept,  or  any  weighty  tone,  whether  essential  or  not,  may  be  anticipated 
upon  a  fraction  of  the  preceding  beat, — usually  a  very  brief  ir&ciiow.     Thus: 


1.  Lento. 


Ex.  101. 


Original  form 


i 


Ant. 


Ant. 


Ant.         Ant. 


=3= 


=P^= 


^d; 


Ant. 


Schubert. 


t-Lit-iiz 


Embellislied  with  Anticipations  (Ant.) 


'•-T 


I 


2.  Allegro 


u 


m 


-=-^ 


tK 


t=iE 


Ant. 


Aut. 


3o  Adagio 


i^EE 


^—0 


:[= 


i 


Beethoven 


m 


4r.  Allegro, 


rj-major. 


Ant. 


Ant.       ., 


E#igj%4:£^=y — F-bS^ 


-  -    .  Ant. 


-*— r- 


Ant. 


Ant. 


-•—-I 


:it=: 


Chopin. 


::t: 


i 


B-major. 


80 


EXEKCISES  IN   MELODY-WKITING. 


6.  Allegro. 


g—»- 


i5rr=f 


Aut. 


Mendelssohn. 


Ant.  A.  A.  A. 


;?*~ 


A. 


s 


6.  Lento. 


Chopin. 


N.  B. — This  embellishment  involves  tone-repetition  from  one  beat  into  the  next,  as 
in  the  Suspension,  and  is  often  not  distinguishable  from  the  latter  at  all.  The  difference 
lies  solely  in  the  purpose,  or  conception,  of  the  writer,  but  may  manifest  itself  clearly 
through  the  following  conditions: 

(1)  The  Anticipation  is  generally  a  very  short  tone; 

(2)  It  is  not  tied  to  the  following  repetition,  but  is  re-struck; 

(3)  If  embellishment  by  Anticipation,  the  second  of  the  two  similar  tones  will  be  the 

essential  one,  and  may  progress  in  any  manner;  if  embellishment  by  Suspen- 
sion, the  second  tone  will  prove  to  be  the  unessential  one,  and  must  progress 
step-wise.     This,  again,  depends  upon  the  chord-basis. 

See  also  Ex.  59,  No.  3 ;  aud  "  Tone-Relations,"  Lesson  60. 


LESSON    25. 

A.  A  number  of  former,   simple,   melodies,  to  be  embellished  with 
occasional  Anticipations. 

B.  New  melodies,  with  Anticipations, — and  an  occasional  Suspension. 


u> 


EXEKCISES  IN  MELODT-'WIUTINQ. 


81 


CHAPTER    XXV. 


THE    PASSING-NOTE. 


104.  EuiiE  III. — Any  skip  of  a  third  between  two  successive  essential 
(or  weighty)  tones  in  a  melody,  may  be  filled  out,  or  reduced  to  step-wise 
progression,  by  inserting  the  intermediate  scale-step  as  Passing-iiote.  Usu- 
ally the  Passing-note  takes  exactly  half  the  value  of  the  first  tone,  but  it 
may  be  less  than  this  (rarely  more)  according  to  the  desired  rhythmic  efi'ect. 
See  also  par.  102  c.     For  illustration : 


Ex.  102. 


1.  Allegro 


tf-H-^- 


:E^B 


Original  form- 


Eifel^ 


^,-.>j: 


EE 


"^ 


Embellished  with  Passing-notes  (X)- 


V- 1 


Allegro 


X  X 

B  (Dominant-9th  chord 


3.  Allegretto. 


2: — ^n — ^B-s: 


±1 


-U-!=l- 


d-min. 


^T0 


T— N^ 


:^T 


:q=S 


^T^ 


&- 


- — * — r*  ^x 


Schumann. 


4.  Lento. 


Schumann. 


S.  Andante. 


:^ 


,    I     Ft 


•^  D  „- — -  ^ 


X. 


•te  *i.-. 


Mozart. 


#     y  #  g- 


=t=t: 


nua^jL 


EXERCISES  IN   MEIiODY--nEITINa. 


10t>.  The  Passing-note  generally  occurs,  as  seen  in  tlie  above  Ulus- 
tratious,  upon  an  unaccented  fraction  of  the  beat, — within  the  beat  or  group 
represented  by  the  first  tone,  and,  consequently,  without  displacing  the 
second  tone  of  the  original  skip.  But  it  is  also  possible  to  defer  the  Pass- 
ing-note (i.  e. ,  to  shift  it  forward)  so  that  it  encroaches  upon  the  beat  of  the 
second  tone,  thus  assuming  the  accented  location,  and  dividing  the  value,  of 
the  latter.  The  rhythmic  result  is  often  much  imj^roved  by  this  means. 
Por  example: 

awkward  rhythm:  better: 


Ex.  103. 


Original  line. 


emb.  with  unaccented 
Passing-notes. 


emb.  with  accented 
Passing-notes. 


P*fc 


i 


•4— h 


d=1= 


good: 


better : 
X 


ll^ 


g 


I 


Original  line- 


^^- 


'  «-^ — *— I  I     I  '    r-^^ — *^-* 1 

X  ^^~  X 


Original  line- 


good: 


awkward  rhythm : 


A-minor. 


LESSON    26. 


A.  A  number  of  former  melodies,  to  be  embellished  witli  occasional 
Passing-notes,  where  skips  of  a  3rd  occur. 

K.  New  melodies,  4  and  8  measures,  major  and  minor  alternately,  in 
various  species  of  Measure, — with  occasional  Passing-notes,  as  shown  above. 
Suspensions,  Anticii^ations,  and  other  material  of  past  lessons  must  not  be 
neglected. 


EXEECISES   IN   MELODT-WKITING. 


83 


CHAPTER    XXVI. 
PASSING-NOTES,    CONTINUED. 

106.  A  skip  of  a,  fourih  may  bo  filled  out,  similarly,  by  inserting  the 
tAvo  luieimediate  scale-steps  successively,  in  tiie  same  direction. 

The  two  connected  passing-notes  may  be  both  unaccented  (i.  e.,  located 
vithiu  the  beat  or  rhythmic  group  of  tlie  first  tone),  or  they  may  be  disposed 
in  any  other  manner  between  the  two  essential  tones,  according  to  the  de- 
sired rhythmic  eifect.     Compare  par.  105,  and  par.  102c.     For  illustration: 


Ex.  104. 


^* 


■W 


:e 


awkward : 


better: 


-*-zy- 


:3EE^ 


Original  line 


X   X 
embellished 


;b 


Original  line- 


better  : 


better: 


:^tEEE 


*-^ 


3.  Presto 


Beethoven. 


±-1-9-^-*—- •— ' 


EfeL 


Yi      I        V» 


4r.  AUegro. 


MOZAKT. 


5.  Allegro. 


CI 


=1=i 


;-Lz 


::1=: 


Beethovex. 


G.  Andante. 


1^ 


•^^r-iTTSr 


:1=q: 


m 


&: 


t=t= 


E!7I_ 


84 


EXEECI3ES   IN   lIELODY-WRITrNQ. 


7.  All" 


Ete  1- 


Pr-nmiEUT, 


tf       s  -'ff  0 ^_ 


JS^ 


See  also,  Ex.  36,  No.  17,  first  measure. 


107.  Adjacent  scale-steps  may  be  connected  by  the  intermediate  chro- 
matic tone  (where  the  space  is  a  whole  step).  Such  chromatic  passing-notes 
actually  corroborate,  in  origin  and  purpose,  the  Altered  scale-steps  (Chapters 
XIII  and  XIV),  and  are  therefore  more  common  in  ascending,  than  in  de- 
scending, succession.  They  differ  in  effect  from  the  Altered  Steps,  which  are 
essential  tones,  in  being  more  h'aiisient,  and  therefori^  o'nviously  unessential. 

For  larger  spaces,  alternate  diakmic  and  chromatic  p.assing-notes  may 
be  used  in  immediate  succession  in  the  same  direction.     For  example: 


1.  A'lnnin. 


Beethoven. 


Ex.  105. 


2.  Allegro. 


Me.ndei.bsohn.  3.  Allegro. 


a  >  X  X ^■#- X ll_+{ 


X    X 


-^i^^ 


AI- 


A  V- 


Beethoven. 


i 


y- 


4r.  Allegretto. 

X        (Ex.  10!))    V 


CEx.  IIM 


Z^^S§E^=£^^E^^^ 


dl- 


EXEECISES   IN    MEIjODX-WKITIKG. 


85 


i: 


EfcE± 


11^- 


BlZET, 


5.  Lento. 


Db  I- 


SAIXT-SAKNa. 


See  also  Ex.  75,  No.  7,  measure  1. 

108.  As  the  fourtli  is  the  widest  interval  that  can  occur  between  con- 
tiguous chord-tones  (namely,  from  the  chord-fifth  to  the  Boot  above),  it 
follows  that  a  line  of  intermediate  passing-notes,  inserted  between  still 
larger  skips  (5th,  6th,  7th  or  8ve),  can  not  consist  exclusively  of  inharmonic 
tones,  but  most  contain  one  or  more  chord-tones,  also.  The  effect  of  the  whole 
conjunct  group,  however,  will  be  that  of  unessential  tones,  especially  in 
swift  successions;  and  as  such  they  are  to  be  regarded  and  treated.  For 
illustration  (the  '  harmonic  "  passing-notes  indicated  by  x  in  parenthesis): 


Ex.  106. 


1.  Allegr 


V7. 


Beethoven. 


3.  Allegro. 


X  (X)  X     "■^•^f" 

E  Y7 (X)  X  (X,;X)      I 


Beethoven. 


&j^leEgg^^p[|^^;L^ 


3.  Tivace. 


GV^- 


86 


EXERCISES  IN  MEIiODY-WKITTNO. 


4L.  Allegretto. 


i2— t^-i^iti— #- 


:g^|^^s 


:^=S^I'=l!!^S^ 


Beethoven. 


(chromatic  passing-notes) 
IV 


I 


?»-  Presto. 


fc^--^ 


i^Ke: 


— wi  ^ — ■ — jp- 

^  -*■  -*■ 


AfeL. 


X     (X)     X      X 


-.^•-»- 


r^ 


,-# 


i-*^*- 


Haydn. 


-#— ^ 


-»-«- 


109.  The  device  of  tone-repetition,  employed  throughout  the  foregoing 
lessons,  may  be  applied  even  to  passing-notes.  Such  repeated  jiasshig-notes 
are  best  when  they  are  of  sufficient  time-value,  and  importance,  to  be  jjartly 
"  essential "  in  eflfect.     Thus: 


1.  Allegro. 


Ex.  107. 


H J h 


f---*— *    * 


:1=i 


'i— i- 


SCHUBERT 
-0 1, 0- 


3.  Andante  con  moto. 
(110?)) 


sii^ii^sis 


a  I- 


g  I- 


SCHUBEKT. 


»J=i=^ 


I— — , , — — — — I -^ 1 — \—M—a — ' — I — I 1"! 


v«. 


3.  Alio  molto. 


Eaff. 


d":- 


IV- 


EXEECISES   IN    MELODY-WKITING. 


87 


4..  Presto. 


-^^ — »- 


^5-. 


CI- 


=c^ 


:i^ 


:|?: 


Chopin. 


i 


a  V»- 


ESKTHOVEN. 


f=^^^ 


LESSON    27. 

A.  Former  melodies,  to  be  embellished  witli  occasional  passing-notes 
(diatonic,  chromatic,  and  repeated),  at  skips  of  any  size,  but  with  strict 
regard  to  a  sensible  rhythmic  result. 

B.  New  melodies,  with  direct  application  of  these  passing-notes.  The 
material  of  former  lessons  must  be  remembered,  and  employed. 


CHAPTER    XXVII. 


NEIGHBOKING  -  NOTES. 

IIO.  (a)  Kttle  IY. — Any  essential  tone  in  a  simple  melodic  line,  or  a 
■weighty  tone  whether  essential  (harmonic)  or  not,  may  be  embellished  by 
placing  either  its  higher-  or  its  lower  Neiglibor  before  it. 

(b)  Very  frequently  the  essential  tone  precedes,  as  well  as  follows,  the 
neighboring-tone,  thus  constituting  an  embellishing  group  of  three  tones 
(i.  e.,  the  essential  or  principal  tone  and  its  i-ecurrence,  with  the  upper  or 
lower  neighbor  between ; — or,  in  other  words,  the  neighbor  inserted  between 
an  ordinary  tone-repetition). 

(c)  The  group  may  assume  almost  any  rhythmic  form;  either  of  the 
three  tones  may  occiipy  the  accented  fraction  of  a  beat,  and  the  values  ai-e 
optional.     But  the  simplest,   and   by  far  t!ie  most  common  form,  is  that 


88 


EXEECISES   IN   MEIiODY-WRITINa. 


in  which  all   three   tones   belong   to   the   same  beat,   or  rhythmic  group. 
Thus: 


Ex.  108. 


I 

C  VI 

IV 


;fe=hH=r=*=^ 


--!±=E=t 


i=tiE====: 


^mm^ 


essential       ~        " 

tone embflli.shed  with  neighboring-notes  (o)_ 


awkward  rhythm 


better: 


tone-repetition,  embellished- 


irreg.  rhythm : 


P=zp=z^tEl=t:====5==Lt=t:=pdziic=n:==?da=izz£E^t==l 


g  ^ 


111.  The  difference  between  the  Neighboring-note  and  the  Passing-note  is,  that  the 
former  turns  back  into  its  own  principal  tone,  while  the  latter  passes  on  into  another 
essential  tone.  Compare  Ex.  103,  No.  1,  with  Ex.  108,  carefully.  In  other  words,  the 
embellishment  with  a  neighboring-note  involves  only  one  essential  or  weighty  tone;  the 
passing-note,  on  the  contrary,  always  involves  two  different  essential  tones.  The  former 
is  therefore  a  local  embellishment,  the  latter  a  progressive  one. 

112.  Whether  the  upper  or  the  lower  iipii^hbor  is  to  be  used,  depends 
somewhat  upon  the  location  of  the  following  tone  in  the  original  melodic  line. 
The  rules  are: 

(1)  If  the  formation  of  the  group  is  to  be  Regular,  tlie  upper  neighbor 
is  taken  when  the  next  tone  lies  below;  and,  vies  versa,  the  lower  neighbor 
when  the  following  tone  lies  higher ;^or,  in  other  words,  that  neighbor  is 
chosen  which  lies  opposite  the  coming  tone.  In  this  way,  the  impetus 
imparted  to  the  final  tone  in  the  group  by  its  embellishing  neighbor,  carries 
it  naturally  toward  the  next  tone.     Thus: 


Ex.  109 


descending  line —      euib.  witli  upp^r  o.       ascending  line —    emb.  Nsith  lower  o. 


EXEKCISES  IN   MELODY- WEITING. 


89 


'^f^^^^^^^^m 


Lento. 


i 


^: 


-* p-;^«-aeg-Z. i— ^ fi -^ 0- 

exceptioual 


*EE3: 


A^Z 


3 


CiirpiN. 


^i 


EEE5 


:^==d: 


Z3: 


::l— ^: 


:^ 


flo 


IB 


Or  (2),  in  a  series  of  sucli  groups,  each  may  be  turned  the  same  icay, 
irrespective  of  the  direction  into  the  next  essential  tone.  In  this  case,  some 
of  the  groups  will  be  Irregular, — but  their  irregularity  is  counteracted,  as 
usual,  by  "uniform  recurrence"  (par.  56a).     For  example: 


1. 


Eegnlar: 


Ex.  110. 


i^ 


.f2 


-»-9-^- 


±it=t:=L 


e 


— : g-m-0- 


■t=tT[:=£z^=?z:titir:: 


-(2.- 


original  line- 


em  bellisbment- 


Irregnlar,  but  nniform : 


•  r=#= 


g 


-*•-#-•■ 


^g=t=t=E=f=^=^t_t-= 


'- H^^-o.  :-H»-#-<^ 


o  -1 


:tre 


t=t=P=!t«'=^=?H 


zir: 


B 


3.  Yivace. 

embellishment  nniform- 


-S^- 


^=r 


-p « — g- 


:g=5=i=.^^ 


'       0- 


G-major. 


r »—* — » 1 3 p- 


Beethovex. 


JE=|g=^gs^ 


D-major. 


emb.  regular- 


3.  Andante. 


MOZAUT. 


'-i-fi 


-T-*- 


\-»-o— ^-^f — '— h- 


-g---^-g — I — 


-j, «r- 


90 


EXEKCISES  IN   MELODY-  WKITING. 


4.    Allegro. 


iin^ 


+=^ 


gi- 


MOZART. 


S=s^^eH£^££ 


1:1 


C=p:^=r=fi= 


rizUit 


=^=iip: 


•— »— * 


I 


II'- 


V- 


N.  B. — In  any  case,  the  rhythmic  arrangement  of  such  successive  (or  corresponding) 
groups  is  almost  certain  to  be  uniform. 

113-  Fiirtlier,  the  notation  of  tlie  neighboring-notes  is  subject  to  the 
following  rules: 

(1)  The  upper  neighbor  must  always  agree  with  the  line  of  the  prevail- 
ing scale.     Thus: 

??? 


Upper  o,  (i;,  ill  C,  F,  G,  B7,     Also  in  e  luiiior 
Eb  major  and  c,  a,  g-miuor.    (ioweieil  7th  Step). 


In  A^?,  Db-iuajor 
and  bb,  f-miuor. 


• — e — ^ — 0 — «- — !-»— 1 — ^-^-H- — i 1 

o € j^ «^U^_^_^ — ^_f,_^^l — L_ ■ 

o  o  ■♦ 


C-major,  tLiroughout. 


— : j 1 — ^ u~ 


O  '  O  "^ 


Ab-miijor,  throughout. 


c-miuor,  throughout. 


^gplSi^lipi^i^g^ 


Eniajor. 


(2)  The  lower  neighbor  may  also  agree  in  notation  with  the  line  of  the 
prevailing  scale,  and  in  melodies  of  a  serious  or  stately  character  (or  when 
the  neighboring  note  is  long)  it  does  so.  But  ordinarily,  especially  in. 
graceful  or  rapid  melodies,  the  lower  neighbor  lies  a  lialf-step  below  its  prin- 
cipxil  tone,  irrespective  of  key; — excej)ting  Avhen  the  principal  tone  is  the  7th 


EXKRCISES  IN  MELODY-WKITING, 


91 


scale-step  (the  Leading-tone),  for  which  the  lower  whole  step  is  almost  always 
chosen.     Thus : 


Ex.  112. 


-Probably  thna  in  every  key  con-I 
-taiiiinj;  g,  excepting  A5-niajor,- 
-wliere   it  is   tlie  -Leadiug-toue:- 


iP^B 


3.  Lento. 

n  +* 

1 

1 

=^^*— ^•^=^- 

— 1 — 

—\— 

H 

1 

1 — 

— 0 — 

— u 

— 0 

-— s— 

o 

0 — 

» 

•^                               o 

— * — 

— 0     - 
— o — 

O 

-  \— 

1 

— 1 J 

Somewhat  uncommon.- 


i 


¥ 


V2  if 


=E= 


i 


More  common,  and  less  misleading. 
4r.  Moderato. 


6  H-  (Ex.  76) 


l^p^p^^gpt^iipfgi^g 


g-minor,  throughout- 


LESSON    28. 

A.  A  number  of  simple  melodies  in  uniform  rhythm  (from  the  first  five 
lessons),  to  be  embellished  with  3-tone  groups,  as  shown  above. 

They  may  be  applied  to  an  occasional  single  tone,  in  which  case  the 
rhythmic  effect  must  be  guarded;  if  unaccented  beats  are  broken,  the  rhythm 
will  be  regular;  if  irregular,  from  any  cause,  the  rhythm  must  be  rectified 
by  "recurrence." 

Or  the  groups  may  appear  continuously,  i.  e.,  at  each  tone  throughout 
the  melody,  generally  excepting  the  final  (cadence)  tone;  this  will  constitute 
a  "Running  part." 

B.  New  melodies,  4  and  8  measures,  in  various  species  of  Measure, 
major  and  minor  alternately,  with  special  reference  to  the  3-tone  group. 
The  material  of  former  lessons  must  not  be  neglected. 


92 


EXEBCISES   IN   MELODY- WKITING. 


CHAPTER    XXVIII. 
NEIGHBORING-NOTES,   CONTINUED. 

114.  Tliese,  in  a  sense  fundamental,  embellishing  groups  of  three 
tones,  may  be  enlarged  to  four,  five,  six,  or  more  tones  in  many  ways: 

(1)  By  adding  to  the  3-tone  group  (either  before  or  after)  any  tone 
which  belongs  to  the  cliord-line  of  the  essential  tone.     Thus: 


1.  Four- tone  rrrniip'* 


Ex.  113. 


C  I  throuKhout. 


3.  Allegro. 
»    #  • 


ifcEEiz 


Bkktiioven. 


-* — * 


:t=t 


?1 


zir='^EE^^^ 


oris,  form. 


later  on- 


C  I 


CZERN-Y. 


^<B g, „ 


*B3:5^E?f: 


d lo 


Beethoven. 


^--[^=^^^"=B 


D    V 


IV 


(2)  By  adding  9,  pasaing-note  (before  or  after). 

N.B. — ^Review  par.  Ill,  in  reference  to  the  distinction  between  neighboring  and 
passing-notes.  And  bear  in  mind,  while  studying  these  somewhat  confusing  forms,  that 
every  neighboring-note  must  be  preceded,  as  well  as  followed,  by  its  principal  tone 
(par.  110  6). 


EXEECISES   IN    MELODY- WKITINa. 


93 


For  illustration. 
1. 

Ex.  114. 


emb.  in  •i-tone  groups. 
°  XX 


^^2- 


e=t 


££cSEgE5»l 


orig.  tones : 


C   I- 


enib. 


It: 


•-fis 


«-^— ^-•f^ 


orig.  tones  :- 


C  I- 


^|;EafSE3Ei 


3.  Allegro, 

R  I       4-tone 


Beethoven. 


ae= 


-9— -— ^^tfV 

^  V 


I     I — I L- 


s^^^ 


-^i?— 


D  I- 


4:«  Allegro. 


*i.^ 


f  I- 


Beethoven. 


-I — I — -^- 


I 


5.  Lento. 


(115) 


(3)  By  inserting  first  one  and  then  the  other  neighboring- note  between 
reiterations  of  their  principal  tone. 

This  "vsill  result,  at  first,  in  groups  of  at  least  five  tones — which  may 
then  be  enlarged,  jDrecisely  as  shown  above.     Thus: 


Ex.  115. 


5-tone  groups- 


3.  Allegro. 


"Webek. 


fee^ 


Irf-a-*- 


-O- 


I'll- i^i— — 


m 


Eb  I- 


94 


EXKKCISES  IN  MEliODT-WHlTIKa. 


'i.  Allegretto. 


Chopin. 


:^ 


_^_i- 

={:= 


-•-gi- 


al- 


4r.  Lento. 


ylj^  ^  >_:gL_^^_g_^_^_^ ^^^____^ 


^-i^e 


•— *- 


a=t 


rr,      . 


A  V. 


5^ 


Ci.EMENTI. 


-•-— y- 


:5»=:?i=5^ 


-|p— 1| ^—t-fi — *- 


(94).l 


5.  Allegro. 


-fe^4- — i '^—a^—^—^P^—^- 


i=*: 


Beethoven. 


G.  Allegro. 


CHOriN. 


~W^  t — ^~*~^" 


zt: 


Ab  L 


7.  Presto. 


(Ex.  113) 


(Ey.  114) 


Chopin. 


'^ezEf^ 


===== — -^i-^^-^^^^-^oni^-^-*-. — ^°— „^>^*=n 


C$1- 


J        .     8-tone 


-^ 


8.  Allegro.  (Ex.  113) 


Beethoven. 


n r *  ^  ^ o 


j — ^- 


0—^—0-^i°—0—- 


HE: 


C  V- 


O.  Allegro. 


(Ex.  114) 


BlCETHOVEX. 


imB£E^^-^ 


-Q~'-0- 


■0 J -I — "1— L-^ a 


EXERCISES  EN  MELODY- WEETING. 


95 


lO.  Allearo. 


ii 


I — I — t- 


a  ° 


:if*=^S^ 


iCTT^W 


CSV- 


V7- 


later:  „  „  „  Chopin. 

M   O  mO  O  n  O  o  ^ 


cjv. 


(4)  '^rore  rarely,  by  repetition  of  the  neighboring-note  (similar  to  par. 
109).     Thus: 


1.  Andante. 


Ex.  116. 


1-^-8— r 


X      X 


N.  B. 

o      o 


SCHUBEKT, 
O     O 


5Jt=r===t=:t-t:=': 


-I — I — I — 1 — 1 — I— 


m 


GI- 


3.    Lento. 


CnoriN. 


Sf 


•—r» 


=:? 


EI- 


V9- 


B 


ifti 


3.  J.ZZ«^ro. 


ia## 


■#i* 


— I— T-* — i-T — ^- 


^=d=?z 


Chopix.  4,.  Alio.  mod. 

A ^ 


FJI- 


X         X 
_        V- 


9    .    •      * 


P!!!:£PB=£EE«===I 


GI_ 


'A-J- 


o — o — o — O" 


f—^»^[-»-^"^—^—^—^— 0-0-0 


i 


*    s    S—^ — ^— * — g— *  |-5»- 

o      o     o      o  "  ■" 


l=l±=t=t=t=t:=t=t=t=: 


F^i: 


Beethoven. 


=t=^=2: 


1 


:tSI3 


i 


96 


EXEBCISES   IN   MEIiODY-WRITINQ. 


LESSON    29. 

A.  A  few  former  melodies  ia  uniform  rhythm,  to  be  embellished  with 
these  larger  groups, — either  at  occasional  single  points,  or  throughout,  as 
indi(;ated  in  the  preceding  lesson. 

B.  New  melodies,  with  especial  reference  to  these  forms  of  embel- 
lishment. 


CHAPTER    XXIX. 
NEIGHBOEING-NOTE    AS    APPOGGIATURA. 


115.  The  neighboring-note,  instead  of  appearing  thus  between  reitera- 
tions of  its  principal  tone,  may,  moreover,  be  placed  simply  before  the  lat- 
ter,— preceding  it  only,  as  i)reflxed  grace-note,  and  forming  an  embellishing 
group  of  but  two  tones  (compai-e  par.  110a  and  b).  In  this  connection  it  is 
called  an  Appoggiatura.  Its  details  are  subject  to  the  rules  given  in 
Chapter  XXVII. 

(1)  The  rhythmic  form,  and  the  location,  of  the  2-tone  group  are  op- 
tional; but  the  appoggiatura  is  most  commonly  placed  iipou  the  accented 
fraction  of  the  beat  (like  the  suspension,  or  the  accented  passing-note,  and, 
like  these,  changing  the  original  location  of  the  essential  tone  by  shifting  it 
forward) ;  and  the  appoggiatura  is  quite  frequently  longer  than  its  principal 
tone.     For  example: 


Ex.  117. 


iiipllii^ 


essential     emb.  with  Appogg.  acceuted- 
toiie 


uuacceuted- 


3.  Allegro. 


V^ 


orig.  line- 


Haydn. 


=t=su 


later    (accented  App.) 


-f-0 „ 


3.  Allegro. 


Mozart. 


4..  Allegro. 


^^^g^gi^^ate^fe^^ 


orig.  line- 


em  b. 


EXEBCISES   rN    MELODY-WKITING. 


97 


MOZAKT. 


^?^?= 


^-*-itO-s-0-3-T— '^- 


* 1 1 tz-F-*— =-,-0 o- "-•-it°-s-°-«-i — '^—i-f  *-*-«-*-* 

^     I—? — '^-^!^^^— -"g-h-^-H-i— ^#^— I— ^i— I— L-p:^»„^„, 


^^ 


5.  Allegro. 


-d? 


as 


=p:=t=t: 


It 


-t — p — I 


-» — I — t- — '— 


original  liue- 


LJiub.  (uiuicci^uted  App.). 
Chopin. 


-I ! , 


P~-tEEErEEarBE-&EE3 


i 


» ^ O i-*-3i-°- 


-•— ^+^«-»— ^- 


1— h— I 1 1 F- 

b.^..' — H 1 1 — 

^^mam **iW — 


G.  Presto 


(ace.  App.) 


If— fl^ 


:;f!=^ 


f-minor.       y7_ 


IV- 


Eketitoven. 


y.     Lento. 
original  line  (38  c)- 


^t: 


-I — i — ^-1 — f—\- 


FSE^R 


emb.  (unacc.  App.) 
o ^  o 


— \ — I — H  —i — ;— I ^-» ^-* ^s, i — 1 

■» « — I h-i — I — I w—\ — 1 e  I — 1 \—o^,^ — 

i — f-^',^ 1 — I — A 1 — I a 1 

^3  ^^^  Lw^ 


Schumann. 


ia=Efe_^aEtEHFte 


8.  Moderato. 

orig.  line  (:^8c)- 


b-mia.  tt  tt 


A    lUMJ. 


emb. 


RrniNSTEiN. 

■1- 


98 


EXERCISES   rN   MELODT-WRITXN'a. 


9.  Allegretto. 


Is^ 


t^ 


-^— ^- 


:t=i=-=t 


-*-^— ?- 


aV 


N.  B.' 

cn — 


IV- 


all- 


(64)  o         o 


bCHUMANN. 


IV 


N.  B. 


m 


N.  B. 
-       II'- 


lO.  Allegro. 


u 


Mendelssohn. 


I 


m^ 


X    ^x 

E  V  tlirougbout- 


S^ 


-^^ 


X 


-I — ^ — tf 


— 0- 
-0—< — 


11.  (continuation  of  Ex.  105,  No.  5)  Lento. 


m-^^^ 


-^ ^ 


Db  orig.  line- 


emb.. 


Saint-Saens, 


12.  Allegro. 


Bhahjis. 


G-major. 


mod.  rep. 


(2)  The  claoice  between  upper  or  lower  neighboring-note,  as  appoggia- 
tura,  may  be  determined,  primarily,  by  the  rules  given  above; — i.  e.,  either 
according  to  the  direction  into  the  following  essential  tone  (see  Ex.  117, 
Nos.  6,  7,  9  and  11);  or  in  uniform  figures,  as  in  Ex.  117,  Nos.  2  and  8.  But, 
in  practical  composition,  the  utmost  freedom  is  exercised  in  this  choice. 
In  general,  the  upper  neighbor  is  the  more  common.  The  greatest  influence 
is  apparently  exerted  by  the  location  of  th.e  j^receding  tone;  for  instance: 


EXERCISES   TK   MEIiODT-'WErnNG. 


99 


An  upicard  movement  (especially  witli  a  skip)  is  usually  made  to  the 
upper  appoggiatuva;  and  a  downward  progression  to  the  lower  one, — of  the 
folloAving  tone,  of  course.  This  simply  corroborates  the  rule  given  in  par. 
28  a,  and  again  in  par.  75  c;  i.  e.,  the  appoggiatura  is  l-est  approached  (from 
any  distance)  in  the  direction  opposite  to  that  of  its  Besohitioyi  (its  obligatory 
step-wise  progression  into  its  principal  tone).     For  i'lTT^tiation: 


l)est  embelHshed- 


— thus,  with  upper'- ^.j 

neighbor : 1 — 


essential  tones- 


-H ^- 


^^ 


possible,  but  misleading: 


-  J— *-■**! 1 — l-d — - 


i 


3^1 


I 


-best  tlius,  with- 
-loiver  neighbor: 


essential  tones- 


possible,  but  misleading: 


This  rule  prevails  almost  throughout  Ex.  117;  the  only  exceptions  occur 
in  No.  5  (second  measure),  and  in  No.  8  (second  half  of  each  measure). 

(3)  The  notation  of  the  appoggiatura  is  defined  exactly  according  to  the 
rules  given  in  par.  113  (Exs.  Ill  and  112). 

(4)  The  presence  of  an  appoggiatura  justifies  excei^tions  to  the  rule  of 
successive  skips  in  the  same  direction,  given  in  par.  31  (Ex.  25,  Nos.  6,  11, 
12,  13,  14).     For  example: 


Andante. 


Ex.  119.  EfeldBi 


F  I- 


VT. 


Schubert. 


:^B 


See  also  Ex.  121,  No.  5. 


100  EXERCISES   IN   MEIiODT- WRITING. 


LESSON    so. 

A.  A  number  of  former  melodies,  to  be  embellished  Avith  the  appog- 
giatura,  in  2-tone  groups;  either  at  single  points,  or  at  each  tone  throughout 
(in  melodies  of  uniform  rhythm). 

B.  New  melodies,  4  and  8  measures,  major  and  minor  alternately,  in 
various  species  of  Measure,— with  especial  reference  to  this  form  of  embel- 
lishment.    Former  devices  must  be  borne  in  miad  and  employed. 


CHAPTER    XXX. 
DOUBLE-APPOGGIATURA. 

116.  (a)  In  a  similar  manner,  and  with  similar,  though  much  height- 
ened, effect,  both  the  upper  and  lower  neighbor  may  successively  precede  their 
mutual  principal  tone,  as  Douhle-appoggiatura.  The  first  appoggiatura  does 
not  progress  directly  into  its  principal  tone,  but  passes  first  over  to  the  oppo- 
site neighbor  (of  the  same  principal  tone),  thus  producing  a  new  variety  of 
the  3-toue  group.  Compare  Ex.  108;  and  observe  the  distinction  between 
this  use  of  both  neighbors,  and  that  illustrated  in  Ex.  115. 

For  exam^ile : 


Ex.  120. 


esaential  tone      eiub.  with  Duuble-iippo- 


1 


(b)  As  usual,  the  group  may  appear  in  any  reasonable  rhytlunic  form; 
either  of  the  3  tones  may  occupy  the  accented  fra:;tion  of  the  beat  or  rhyth- 
mic group;  and  the  time-values  are  almost  wholly  optional.  The  details  of 
treatment  conform  to  the  rules  and  illustrations  of  the  preceding  chapter. 
For  example: 


1. 


Ex.  121. 


■Q  —  O 1 1 O    Q . O  Q  -^ 

— #— jj — I — *— _— a — -j or,  more f~^'~m~\ 1 


oiig.  line —       emb (112—1) 


EXEECISES  IN   MELODT-WEITING. 


101 


-G-     ^       -o £ —  I 1— 2 o ^-- — 1— o— I— ° 1 ri 


3.  Vivace. 


fc^4 


4- — *- 


-H^ 


=^=r 


^^=^ 


— *      I 


F  I- 


Chopin. 


-and 


-*— P^- 


'- ^         ♦       o 


f — » — ^ — h     >,        — » H 


d  I- 


3.    Allegro. 


Beethoven. 


lgeEE^E33ESfe;^Sl»E£EF^^«gi^|^=H 


Ab  I- 


Efe  v. 


4=.  Allegro. 


■^      A 


zE 


=E 


tfS:t:!^it2 


Beethoven. 


;E 


£ 


• — l-l •-! — — I- 


G  V- 


orig.  line- 


3 

emb.. 


5.  Xenfo. 


Veudi. 


=fc^^ 


Efeiigi^e^EE^ 


-^ « !l- 


iti=3: 


I 


Gb  T- 


V^- 


6.  Allegretto. 


Eb  I V etc. 


Schubert. 


m 


rzt 


d: 


-^ — »- 


^I^later  tjlf^ f *—  zt=:  j^*— ' *—  ifz: 


etc. 


102 


EXEECISES   IN   MELODY-AVRITINO. 


y.  Allegro.  q 


Chopin. 


SEfc=?=ts°=iJ?=i^ 


^^E^z=;=tij; 


-* — ^ — ^ 


CHOI'IX. 


i^^^ 


117.  Very  frequently  the  Double-appoggiatnra  is  preceded,  as  well  as  fol- 
lowed, by  the  lariucipal  tone,  thus  extending  the  figures  shown  in  Exs.  121 
and  108  to  a  new  species  of  four-tone  group,  which  is  one  of  the  most  con- 
venient, effective  and  common  forms  in  the  entire  range  of  melodic  embel- 
lishment. The  reiteration  of  the  principal  tone  is  separated  by  both  the 
upper  and  lower  neighbor  iti  succession, — in  either  order,  and  in  any  rational 
rhythmic  form.     Thus: 


1. 


Ex.  122. 


m 


^- 


>=— »— h- 


-•-H-^— 


Essential  tone — embellished  witli  interposed  Uouble-appog. 


:t=r 


lrre<rnlar  rhvthm- 


1 — "- 


i 


3.  Allegro. 


f  I- 


Bkkthovbn. 


v- 


F  I 


Beethoven. 


g ^-q'^fe^l' 


EXEKCISES  IN   MEIiODY-WKITINa. 


103 


4.  Allegro. 


Beethoven. 


-rb- 


^^H:^. 


±i=t: 


:ti=C: 


:t=cz=t: 


a 


El2 


5.  Presto. 


Chopin. 


_  <><'  X  (X) 


^L «i— — -^ — ' 1 U 


Orig.  line.. 


eiiib. 
cjf-minor. 


6.  Allegro. 


^^25 


'-(-* 1 — 1 — I— ^ — ^ — — i]±-'-*-#' — I ' — I — I — ^ ^tjH — I--H 1 


D  I- 


II 


Dvr 


Schumann. 


7.  Andante. 


X 


il^^pi^g^^^p 


F  V- 


(94) 


Mozart. 


V9      L- 


f-min. 
V9       I- 


.  AbV- 


Y9 


Bkethovbn. 


Bb  L 


V- 


(I'iOa) 


104 


EXERCISES   IN  MEXjODY-WRITINO. 


118.  In  rare  instances,  the  number  of  these  interposed  neighboring- 
notes  is  increased  to  three,  by  returning  to  the  first  appoggiatura  before 
passing  on  into  the  essential  tone.     Thus: 


Ex.  123. 


o-o-° ■»— ° — o — ° r-o — ° — r 


i 


Essential  tone— euib.  with  Triple-ajjpojj 


3.  Allegro. 


5e±: 


EE: 


3^ 


^z^ 


-*-^-l-*-' 


Original  line- 


C  I      II- 


MOZART. 


3.  Allegretto. 


53: 


-J^ — ]- 


)A 


4-- 


C  I- 


- — iio — S# — °- 


"Waltz. 


in 


4..  Moderate. 


#=1? 


f  I- 


"Origiiial  line- 


:p): 


Rubinstein. 


^^^ 


5.  Allegro. 


SE: 


Eb  I- 


o  — o — I 


Schubert. 


I 


6.  Allegretto  grazioso. 


u. 


-5*-.- 


Original  line- 


EXEECISES   IN   MELODX-WEITING. 


105 


enib 


LESSON    SI. 

A.  A  number  of  former  melodies,  to  be  embellished  "with  the  Double- 
appoggiatura,  in  the  3-tone  and  i-tone  groups  above  illustrated;  either 
occasionally,  or  continuously. 

B.  New  melodies,  4  and  8  measures,  major  and  minor,  in  various  species 
of  Measure,  with  special  reference  to  this  form  of  embellishment. 


CHAPTER    XXXI. 

APPOGGIATUKAS,   CONTINUED. 

119.  The  Double-appoggiatura  sometimes  appears  in  connection  with 
the  Suspension,  as  "indirect  Resolution  "  of  the  latter.  The  Suspension,  as 
is  made  manifest  in  Chapter  XXIII,  is  always  a  neighbor  of  the  following 
essential  tone, — because  of  its  invariable  application  at  a  step-wise  progres- 
sion,— either  above  or  below.  Hence,  it  may  be  regarded  as  an  appoggia- 
tura,  and  be  conducted  first  into  the  opposite  neighbor,  before  the  essential 
tone  follows,  precisely  as  shown  in  par.  116a.     For  example: 


1.  C  I 


8.,  direct  Resolution. 


3. 


Ex.  124. 


^i 


s^f^i^^i 


=?2= 


Eaaential  tones —       Emb. 


Indirect  KosoliitioTi,     CV  I 

as  Double-ai)poy. 


3.  Allegro. 


Beethoven. 


m 


'y^- 


3=f— !?«? 


m^^m 


Afe  V- 


N.  li. 


F=t 


106 


EXEKCISES   IN   MELODY-WRITING. 


4.  Allegro. 


Oiigiual  liue- 


emb. 


:fci=:°^1 


1^ 


:i?: 


120.  The  strict  rule  of  the  neighboring-note,  as  seen  throughout  the 
preceding  chapters,  is,  that  it  must  be  followed  by  a  step-wise  Resolution  into 
its  principal  tone, —  either  immediately,  or  after  swinging  over  into  the 
opposite  neighbor  of  that  principal  tone. 

(a)  A  peculiar,  but  quite  common,  exception  to  this  rule  is,  that  the 
upper  neighboring-note,  after  properly  following  its  principal  tone,  may 
leap  down  a  3rd.  In  other  words, — the  upper  neighbor  may  intervene  be- 
tween two  jsrincipal  tones  that  represent  a  descending  step-wise  progression. 
The  result  is  best  when  the  principal  tones  are  both  harmonic;  but  it  is 
applicable  to  any  weighty  tones,  even  when  one,  or  each  of  them,  is  a  pass- 
ing-note. 

This, — the  "Unresolved," — neighboring-note  is  alwai/s  unaccented,  and 
usually  short  (like  the  anticipation,  which  it  most  resembles  in  origin  and 
character).     Thus: 


Er.  125. 


better: 


CI       V  CI 

Essential  tones — 


emb.  with  tbe  Unresolved  neighbor  (upper) — 
3.  Allegro. 


g=iiPiii 


C   I- 


Beethoven. 


^^ 


-^- 


X- 


1 


N.  B. 

V I 


^.  Allcgrn.    (see  Ex  123-2). 


Mozart. 


C  I 


EXERCISES   IN   MELODY- WRITING. 


107 


4=.    Allegretto. 

i^ — 


=1=:^ 


-A- 


^^ 


s^-- 


Original  liue- 
A-major. 


«: 


Mozart. 


n 


1 


Eiub. 
5.  Adagio. 


:l^i*i 


-<^=. 


Original  form- 


Haydn. 


■|^=i 


^ \ 


^^- 


:q—t:iz*: 


Emb.  (later). 
6.  Adagio. 


N.  B. 


0 


Beethoven. 


Original  line 


(b)  If  a  modulation  is  made  during  a  step-wise  descending  melodic 
passage  wliich  is  to  be  embellished  with  the  unresolved  neighbor,  the  latter 
must  agree  in  notation  with  the  scale  of  the  following  principal  tone,— of 
■which,  as  above  stated,  it  is  properly  speaking  an  anticipation.     Thus: 


1.  Essential  tones- 


Ex.  126. 


O — 


^ 


a-ruinor- 
or  C-major- 


Emb. 


I d- 


S.  Allegro, 


i 


)^^ 


^me 


'mmm 


f-minor- 


^EE=5: 


hk- 


SCHUBEltT. 


i^=^^^^pi^3i^ii^B 


Ex.  70 


*  Kot  btj,  unless  the  key  remains  C  or  a  throuirhout. 


108 


EXERCISES   IN   MEIiODY-AVEITING. 


(c)  Mucli  more  rarely,  this  device  is  reversed;  i.  e.,  the  lower  neiglibor 
is  inserted  between  step-wise  ascending  tones.  The  rules  corresx^ond  to  the 
preceding.     Thus: 


Ex.  127. 


1.  Andante. 

9  b^^: 


-N-!f-^ 


At2 


Mozart. 


S.     Allegro. 


Hatdx, 


'==t=: 


(d)  When  the  rhythm  is  uniform,  and  the  tempo  rajDid,  as  in  some  of 
the  above  illustrations,  these  unresolved  neighbors  may  often  (not  always) 
be  analyzed  as  a  Double-apiJOggiatura.     Thus: 


Ex.  128.  him either: 


-^— * 


thna 


J  J !-s— • s-_„ ^O -So 


LESSON    32. 


A.  A  number  of  former  simple  melodies  (including  those  of  Lesson  24), 
to  be  embellished  with  Suspensions  with  indirect  Eesolution;  and  with  un- 
resolved neighboring-notes,  as  shown  above. 

!B.  New  melodies,  with  sj^ecial  reference  to  these  embellishments. 


EXEBCISES  IN  MELODY- WitiTlNa. 


109 


CHAPTER    XXXir. 
EVOLUTION    OF    MELODIC    GERMS. 


121.  The  application  of  these  various  classes  of  embellishments  is  apt, 
in  many  cases,  to  be  determined  npon  some  broader  basis  than  the  general 
purpose  of  ornamenting  individual  tones  of  a  simple  melodic  line. 

The  develoisment  or  evolution  of  an  elaborate  melodic  figure,  or  com- 
plete Phrase,  out  of  two  or  three  fundamental  tones,  li>y  miscellaneous 
methods  of  embellishment  and  repetition,  has  been  repeatedly  exhibited  in 
the  foregoing  examples;  and  while  such  i^roducts  are  not,  as  a  rule,  in 
advanced  musical  thought,  the  resi:lt  of  deliberate  intention,  they  are  none 
the  less  surely  thus  simple  in  their  original  germinal  form,  and  must  have 
existed  in  this  simple  form  in  the  firmly  established  melodic  habits  of  the 
composer, — even  when  they  appear  to  have  issued  spontaneously  from  his 
mind,  directly,  in  their  comjolete  ornate  and  characteristic  shape. 

This  process  of  melodic  evolution  is  so  natural  and  so  wholesome,  and 
the  evidences  of  its  presence  in  classic  melodic  thought  are  so  clear,  so  j)osi- 
tive  and  so  instructive,  that  its  systematic  exercise  is  of  vital  importance  to 
the  student  who  aims  to  acquire  habits  of  healthy  and  facile  melodic 
conduct. 

The  only  rules  are:  that  the  fundamental  tones  (the  germ)  shall  form  a 
perfectly  faultless  and  natural  melodic  figure,  at  least  free  from  extreme 
irregulaiities ;  and  that  the  manipulation  of  it  into  an  ornate  Phrase  shall 
be  coherent,  smooth,  well-balanced  (as  concerns  the  rhythmic  and  syntactic 
exterior),  and  free  from  eccentricity. 

122.  Hence,  an  ornate  melodic  sentence  may  conceal  (perhaps  so  clev- 
erly that  its  presence  may  scarcely  be  heard, — though  it  is  certain  to  be 
felt)  a  part  of  the  line  of  the  scale;  or  the  simplest  elements  of  the  Tonic 
chord,  or  Dominant  chords. 

The  following  illustrations  are  to  be  very  studiously  examined  a^id 
analyzed : 

1.  Germ  (chord-line): 

Ex.  129,Efe^^ 


Bbi- 


=1: 


V9- 


Allegretto. 


110 


EXEKCISES   IN   MELODT-^VKITING. 


;i^: 


H-g--*-T-gizg: 


-#-^t|«-R*- 


-t?*- 


s 


i 


^^-c=i=i*>^ 


■^ 


-^ 


H^-T-^--- 


r 


Beethoven. 


IC— *-H-gJ:g^ 


•-^ 


^ifz^=^^-^=^f^s^i-* 


=t=^ 


3.  Germ  (chord-liDe) 


^-^ 


:5ffi±: 


1 -|z=2=h[i=^=^^ 


m^ 


Beethoven 

^ _^  ^ ^    ■*-  -I— 


H 


-- ?- 


B 


C  I- 


melodic  evolution- 


3.  Germ  (chord-lines):  Allegro. 


Schubert. 


:S:»: 


3Si^li^jgl 


^^"^ 


a  I- 


IV       I         melodic  form- 


er. Germs  (chord-lines): 


=fc& 


=i?* — 5=rti 


s^ei3^ 


-and  -.- 


f-minor- 


Andante. 


7  th 


H V 


'^ 3 ^o 1 


=^=^S 


d= 


:c=^p: 


■— I H , » — o- 


f    I- 


melodic  form- 


M_ 


9th 


9  7  o 


t\i=fz 


iji^d: 


-^——0- 


1.1 :— S i'^* ^ !?« 


f  v_ 


Chopin. 


FfefcM^ 


^=u=:_i»: 


:E=EE 


:r=t:=- 


(120  a) 


EXERCISES   IN   MEXiODY-WTilTINQ. 


Ill 


5.  Germ:        Allegro. 


e  I 


melodic  form 

I 1 


-0 » 0- 

r 1 r- 


1  I 


Chopin. 


^—0-i 


-0 — i- 


^- 


m 


(69) 


-r^ 


6.  Adagio. 
Germ  : 


,g|i^^ 


mel.  form  :"3" .  "y 

r  .1 


N    I' I   J     I       U 


:i^ 


-^0~ 


"h^ 


\          1 

1^ 

Beethoven. 

1 

n    ii       1 

1       '       1       1 

V  1  /      J  • 

' 

*      ;      '■    1 

■                                             T 

-fe^-^ 

-^          • 

'    \* 

^^^ 1 

L^ 0- 

i 

h 

— T-^ 
55 

^'-^^^--     fhT 

1 

•0-       -0-  '  -0-    ■»• 

1            '^        tr 

y.  Germ  (chiefly  scale-line): 


gil 


El2 


.4  llegro. 


i^      J      » — * — ^ 


=i:q= 


::]=::1! 


# — <f-^~  ~f — ^ — * — *- 


-»-h^--—-^— --«--,- 


melodic  form- 


:fcd=^: 


Beethoven. 


=:=i 


?-7— » -J 0 0- 


*-r 


^ 


8.  Germ  (complete  scale): 


_ien_i-^_ 


=t=F= 


c 

Allegro. 


BUAHMS. 


m 


^ 


-fi^ — 0 — ^- 


g^— *-'-r-=F=F= 


melodic  form- 


112  EXEECISES  IN   MELODY-WRITING. 

O.  Germ  (chiefly  scale-line). 


— I 1 — v.-^~, — 0- 


:t=p=?: 


-^.^T-»^^ 


■m. ^- 


(120  d) 
1().  Germ  (scale): 


~wij 


£^ 


-^— « 


Mozart. 

H — -^ — ^— -1 — s- 


1 — I — -1 — »^ ■ — «-■ 


Allegro. 


fct=d=d=d 


:g-4- 


:F=t: 


-p — etc.  —j—'^^ — 


=t=^ 


^* * * 


Melodic  foriu- 


Bkkthoven. 


'-'ry * j — ^§g-|^-  - 1" 


-«— ff-j  -»-^-«-t!»=?#h^H= 


|g=g=jg^i*E^^^ 


11.  Germ  (moiUfieil  scale-line): 


zk 


m^G 


-^- 


4-f 

-S-- r-S®— ^ ■ ^ 


ig 


c  I  V  f  V  I  c  IV^  I         IV  V 


Allegretto. 


ipfc 


^iz=^=f±±^ 


Melodic  form- 


Beethoven. 


^.9 « 


5ESEE: 


^s-s^ — ^- 


:5±:*zi-^2z=i=5 


— N— ' 


?— ^— X 


1 


13.  Germs  (scale  and  chord): 


^ 


Hi 


si — '-a®- 


EXERCISES   IN   MELODY-WKITING. 


113 


Allegro  assai. 


PiSzrfeiS: 


^ET^ 


Melodic  forui. 


SCHUliERT. 


^-- 


1^-=-^ 


m^^^^ 


13.  Germs: 
chord 


so.ale 


^gs 


^^t=^=h- 


=C=(i):: 


1=1 


t=^=T=- 


Allegro. 


Li2=n: 


# — »-• — /- 


l=tF=F 


-I iH # 0 0-^ 


Melodic  form  (expanded  to  double  measures)- 


Schumann. 


iS 


ffiK2 


^ 


:t=f: 


-S— •-=->- 


EE^t 


etI^ 


:(z=1f=d 


X4.  Germ  (descending  and  ascending  3rda): 


lE: 


-s^-l^-^ 


IPiiilil^g 


i 


Allegro. 


^F=^r 


"^-^" 


t— ^-- 


Melodic  form- 


Brahms. 


'fEff^FEiE* 


I 1 1 1 M 


-I \ 1 


114 


EXEKCISES   IN   MEIiODT-WRITING. 


15.  Alleqro. 

Ffe^^^i  ^-^ 

— ^    1   1 "^    p] : q 

-^^ — *-^ — i-^- 

-H  ^-'' J  J  •  ^  '  1'  ^  -^  1 

-©-  • 


=i^=1=:1^=u^: 


-ji— #-§*- 


Beethoven. 


i 


f  — 


16.  Allegretto, 


-TO-4— 


?£i=? 


12— -il 


' 1 


-,— #- 


r  I      I      j«  I         P5     r — i      I 


-sH 


i-!- 


(96)      tt,P 


* 


iH 


i^-zii: 


^^^ 


-J 


-?^- 


-^- 


Beethoven. 

-eS-l ^■ 


-J s:-^-t_^ 


IT'.  Allegretto. 


f^-£j=j=f=|:t^— ^-^|->=^-,J=f=|:^.— ^-^-|-'>--^^*^: 


:i=J^J=J: 


Brahms. 


^-# 


J-i* 


3^i 


* J 


3^33 


14=:]- 


i-H— I — g — 0 1- 

'■ff*  "^  .  etc. 


I 


123.  Such  simple  germs,  derived  directly  from  the  scale,  or  from  some 
primary  chord-line^  are, — like  the  soil, — common  property,  open  to  the  use 
of  all  humanity. 


EXERCISES  IN  MELODy-WKITINa. 


115 


In  the  choice  of  these  germs  no  originality  can  be  exercised,  or  proven, — 
merely  common  sense. 

But  their  manipidation, — the  method,  and  the  extent,  of  their  embel- 
lishment and  development, — exhibits  the  individuality  of  the  coiiiposei-,  the 
particular  quality  and  calibre  of  his  innate  musical  susceptibility,  or  the 
degree  of  discrimination  and  "  taste  "  that  he  has  acquired  by  persistent  and 
thorough  exercise  of  such  established  technical  methods  as  those  expounded 
in  the  present  treatise, — that  may  possibly  lead  onward  into  yet  undiscovered 
modes  of  treatment. 

This  is  one  of  the  most  obvious  and  natural  jahases  of  the  apparently 
occult,  but  in  reality  very  manifest,  Science  of  Originality. 


LESSON    33. 

The  evolution  of  complete,  ornate  and  characteristic,  melodic  sentences, 
4,  8,  12  or  16  measures  in  length  (major  and  minor  alternately,  and  in  all 
species  of  Measure),  out  of  simple  germs,  imitating  the  melodic  and  rhyth- 
mic methods  shown  in  the  above  example. 


CHAPTER    XXXIII. 

MELODIC    EVOLUTION,    CONTINUED. 

124-  Further,  the  ai5plication  of  these  embellishing  processes  may 
serve  to  disguise,  or  to  heighten  the  effect  of.  Repetitions,  Sequences,  and 
Hecurrences  of  former  figures  or  phrases  in  general.  Keview  the  text  of 
Chapters  X  and  XI;  see  Ex.  100,  No.  3;  Ex.  106,  No.  4;  Ex.  115,  No.  10; 
and  examine  and  analyze  the  following,  thoroughly: 


1.  Andante. 


Chopin. 


Ex.  130.  - 


mod.  repetition 


3.  Allegro. 


r  ^  itii  If                     ' 

— 1 

n-'i-^— 

d 

^ 



•J                         '              ' 

1 

-J^ 

— Z^-T- 

^_i 

n 


Grieg. 


■^. 


-'i-i- 


z^^ 


modified  repetitioD- 


116 


3.  Allegro, 

#6: 


EXEKCISE3  IN   MELODY-  WIUTINQ. 

mod.  repetition. 


'fm^ 


-tS- 


^^^5 


—^ — ^- 


—2^- 


g|E 


Db.  original  melodic  line- 


-«>- 


-i 0 J 


later  r 


modified  recurrence- 


^ # •- 


d=t=J: 


ChOI'IN. 


33^ 


Iteti^ 


E^E3: 


£=£ 


^ — ^ — * — M- 


4^.  Allegro  moderato. 
(120  a) 


Se; 


^a^^ii-F^^^ 


-later 


o     i.°-^        o       °^ 


original  melodic  line- 


mod,  repetition. - 


Beethoven. 


5.  Allegro  molto. 


jEEeE; 


:[= 


£E 


-s— i — ^ 


1 


original  melodic  phrase.. 


Beethoven. 


?-[7 later : 


Eiyl 


_»M-_»_D«- 


I^PO: 


-«— #- 


tEE 


-#— ^- 


^=t 


-F-^-^-^- 


modified  recurrence- 


6.  Allegretto. 


^gsE^^^^ 


a^ — *- 


(120  a) 


FJf.  original  phrase- 


^jfe^^^^ggEgggiigEa^ 


4=d=n=^: 


modified  recurrence. 


EXEKCISES  IN  MELODY-  W  KITING. 


117 


'» 


fr. 


airain     ^         — [  --|- 


Ilater. 


-yg « 9 *- 


=q=:qi=q=i 


^^^p^ 


* — t:=t: 


modified  recurreuce. 


Chopin. 


^aJj^g^jEEJEgg^SS^z^g^^^^^^lJ 


'/".  Adagio. 


-3-H j-#-f 


:r=^^gg::^=-^-^-b3'=^=^ 


original  phrase 


L:rb: 


iM^^=~4f=^M 


-0 — 

-p-etc. 


-later 


-t *- 1 — I — I — ■■ — • 


5~^^* 


£^^^S^I''='^^=== 


modified  recnireiice 


Haydn. 


|-  '-^\? h* — I — I ^'b — s ' — *-»-F (-H 

r  -fi^'* ' »-• rS*-  — I — I — •-  -* »-g-^ '—TT^-^ii 


8.  Allegretto. 


steE^E^Et^E 


-•-T- 


e^ 


i^ 


Ab  I- 


8va. 


i 


=fefer 


fes 


— ^—Z 


P=P=*: 


modified  repetition. 


Chopin. 


8va. 


m 


w- 


H-K H 


::iii:z*: 


t=iiztp==t=f=*= 


itf!=-^i5E=4 


h-t— *- 


-j — , —  —  -m \ — w    m       ' ! 1 1^^^-^^^      —" — '       '      >      r 


118 


EXERCISES   IN   MELODY-WRITING. 


9.  Adagio  molto. 


fe"^^ 


-=—•—"-* 


^-. 


-I »-^— ^— 


f=^ 


1^1 ^ — etc. 


Original  phrase. 


modified  recurrence. 


q:fcd2= 


H — I — ,—r-*-m}i-'~J\     ' — *-r — ^-' — ' — h i— .*1»~1- — i— —  ■'■■I     -i H 


:zl2=— 


again  "^t  iill 

later: y. — 


j==: 


-^-•— « 


modified  recurrence. 


^fefii?: 


— — -5-!-^H-+-^-'  ^ 


t:*-! 


Ukethoven.  Syra.  9. 


i 


:t^ l-i L: 


9- — ^— — »-h-*-h-7»-h-f-t-H*ir- 


lO.  Larghetto. 


ttj-g^^^^^fe=P:tt" 


:p=pi;rr-r-^grj 


B   1— 


I 
modified  repetitinu. 


X    ♦ 


yg==£:&j:=M' 


»-- i'-.»-va-*- 


-0-^  0-it 


later: ^--^-S* 


modified  recurrence  (incl.  mod.  rep.)- 


EXERCISES   IN   MELODY- WRITING. 


119 


-ft^ff i~L^i  I — p*7~|~p'f''^  n    -v  I  ,  ^1 — I— I— F— '_M — i — ^■,— I — . — ^-iE3 

y7  ^m^moi  2  3  A 


u 


Ciiopix. 


Wf 


:p=T=t: 


t=x=.-^-=t-r.-=--=t-\^=M- 


1 


V7 


11.  Andante. 

1 

AWe^^ro. 

V    1                             1 

<n               1 

1 

/W'*                                 « 

a 

m 

fm  'i                  #  •  • 

- 

^ 

later:    -,           1        '  1   ■- 

1 

1 

o        ;!       J  -- 

»/           '^ 

Original  phrase- 


;i 


mod.  re- 
Mendblssohn, 


SEE3^^ 


^-^-J-*- 


-ff- •^-•- 


i^ 


^— #- 


-fi—»~ 


curren ee- 


ls. Adagio. 


^ 


:|=:1: 


-\-0-f-0 — *-^^ — I — I — 1 — I — ■^- 


gi-T-p — m- 


0—^ 


-I ^ — 

Beethoven. 

4—1 . 


i 


-*-— 


Afe^ — 

Original  figure- 


r-  r- 


disguised  sequence. 


13.  (comp.  par.  121.) 


mfe 


s-f^^ 


±=± 


Adagio,  espressivo. 


--dr-r 


-A 4- 


gi  .      ~r 


PP^J^;^^ 


Germ  (mod.  aequence): 


Eb  i_ 


Melodic  form. 


:l?==i=± 


-o_9th- 


Y9 " 


9th 


|^aS|^fas=g=^mi|=g^ 


Beethoven, 

■#- 

4— 


*  These  tones  represent  a  "passing-group"  (109,  extended),  in  sequential  fcirraation. 


120 


EXEKCISES   IN   MELODY-WKITING. 


14. 


^?#^i^ 


-^— 


—ni- 


Andante. 


Germ  (sequence): 


Melodic  form. 


tf 


^ 


Mozart. 


I 


15.  Allegro  grazioso.** 


u 


s% 


XEi 


-N— -pr- 


^— ^ 


^ j — U^-^ 1 — I- 


A    Original  line 


,  mod.  rep. 


N.  B.  N.  R. 


__ft_i_it ^ — ^ — I N— a» |=T'^"T^"=rH— )*. — I 1 1 r 

_  y  ff>il ^ 1 1 — — V—m—. — I — -^ 1 — ~  /H — I — I — I — I — i\-*-itd-tid 1 \ 


-•-=-# — 0, 


Brahms. 


'mod.  rep. 


la.st  figure,  exp.iiided. 


**  Tlii.s  last  illu.stration  comea  under  the  head  of  "  manipulation "  in  general  j  it  is  based 
more  upon  rhythmic  modification  than  melodic  embellishment. 


LESSON    34. 
A.  Former,  or  new,  4  and  8-measure  melodies,  with  embellished  repe- 


tition. 


li.  Melodies,  of  optional  length,  with  special  application  of  the  modi- 
fied (embellished)  repetition,  sequence,  and  recurrence. 


Simple  harmonic  accompaniment  may  be  added,  at  the  discretion  of 
the  teacher. 


EXEBCISES  IN  MEIiODY-WEITING.  12] 


CHAPTER    XXXIV. 
MELODIC   EXPRESSION.     CONCLUSION. 

125.  As  stated  in  the  Preface,  the  foregoing  is  a  course  of  systematic 
exercise  in  melody  invention,  only, — not  melody  conception.  For  the  latter 
there  is,  and  should  be,  no  other  guide  than  the  individual  imi^ulses  of  the 
maturing  comijoser,  founded  upon,  and  controlled  by,  such  natural  and 
correct  habits  of  melodic  thought  as  he  may  have  been  fortunate  enough  to 
establish  in  early  youth. 

The  transition  from  invention  into  conceptior  is  signalized  by  the  in- 
creasing assertion  of  personal  emotional  impulses  {feeling,  as  distinguished 
from  thought),  through  which  the  element  called  Expression  is  instilled  into 
the  otherwise  jDurely  mechanical  product,  and  the  distinctions  of  Style,  both 
individual  and  general,  are  created. 

126.  The  presence  of  this  element  of  Expression  is  manifested  by  an 
independent  inclination  to  discriminate  between  the  following  attributes  of 
musical  style: — 

(a)  Between  the  major  and  minor  Modes;  —  the  latter  of  which  is 
more  passionate  and  sombre,  the  former  brighter  and  more  vigorous  in  effect, 
as  a  common  rule. 

(b)  Between  the  duple  ;ind  triple  species  of  fundamental  Rhythm ; — 
the  former  more  sturdy,  the  latter  more  graceful. 

(c)  Between  rapid  and  slow  Tempo,  or  degree  of  fundamental  motion. 
This  distinction  influences,  somewhat,  even  the  technical  formation  of  the 
melodic  sentence; — in  slow,  or  moderate,  tempt,  there  is  likely  to  be  more 
sca/e  than  chord-derivation ;  considerable  ornamentation  is  appropriate  and 
necessary,  and  much  —  even  extreme  —  diversity  of  tone-values  is  possible. 
On  the  contrary,  in  more  active  or  rapid  tempi,  c7^orr/-derivation  is  apt  to 
predominate  over  scale-derivation,  though  rapid  scale-passages  (as  embel- 
lishment by  passing-notes)  are  by  no  means  infrequent;  less  ornamentation 
is  likely  to  appear,  and  diversity  of  time-values  is  more  limited,  i.  e.,  the 
rhythm  is  more  nearly  uniform. 

(d)  Between  such  conventional  Styles  as  distinguish  one  class  of  com- 
position from  another  (i.  e.,  the  Waltz  from  the  Nocturne,  the  March  from 
the  Barcarolle,  etc.).  These  are  subject  to  no  other  laws  than  those  of  con- 
Tention,  or  popular  usage,  and  are  best  learned  by  observation. 

127.  All  of  these  general  qualities  of  melodic  conception  demand  the 
more  advanced  discipline  of  musical  Form,  and  can  therefore  be  exercised 
only  experimentally  and  briefly,  at  the  discretion  of  the  teacher,  in  the 
present  course  of  melodic  practice. 


122  EXEKCISES  EST   MELODY-WEITING. 

VOCAL    SEfTING. 

128.  The  most  natural  and  wlaolesome  artificial  stimulus  of  definite 
and  Kigniticaut  Expression  in  melody-invention,  is  that  afi"orded  by  the  vucal 
setting,  or  '"melodizing,"  of  a  line  or  stanza  of  text.  The  simply  mechanical 
endeavor  to  follow  and  confirm,  as  closely  as  jiossible,  the  varying  shades  of 
poetic  and  prosodic  (or  declamatory)  expression  of  the  given  text,  is  calcu- 
lated to  arouse  and  develop  the  student's  individual  sense  of  Expression, 
and  pirepare  for  its  untrammeled  operation  in  the  domain  of  absolute  (instru- 
mental) music. 

129.  The  details  of  melodic  effects,  which  find  their  parallels  in  the 
undulations  of  jDoetic  expression,  may  be  described  approximately  as  fol- 
lows: 

(a)  An  ascending  succession  of  tones,  along  the  scale-line,  indicates, 
ordinarily,  an  increase  of  emotional  tension,  or  emphasis;  a  descending  suc- 
cession, relaxation. 

(b)  The  effect  of  step-ioise  progressions  is  that  of  gradual  and  smooth 
change, — increase  or  decrease  of  the  degree  or  stress  of  feeling.  Whereas, 
when  the  tones  progress  in  skips,  either  way,  these  changes  of  feeling  are 
more  abrupt  and  positive,  about  in  proportion  to  the  size  of  the  skijDs. 

(c)  The  progression  in  chromatic  tones  is  more  seductive  or  passionate,  as 
a  rule,  than  diatonic  (i.  e.,  scale)  successions,  and  usually  in  i^roportion  to 
their  speed. 

(d)  The  changes  in  force  indicated  by  crescendo  and  diminuendo,  arouse 
exactly  similar  impressions  of  increasing  or  decreasing  volume  or  emphasis 
of  feeling;  the  extremes  oi  fortissimo  HjUt^i  pianissimo  \nA\Giite,  respectively, 
utmost  power  or  7iearness,  and  utmost  gentleness  or  remoteness. 

(e)  Sudden  changes  of  force  [abrupt  forte  ov  piano  effects)  corroborate 
swift,  perhaps  violent,  impulses  of  emotion;  these  may  be  emphasized  by 
simultaneous  sudden  changes  of  register  or  j^itch, — i.  e.,  wide  skips,  the 
effect  of  which,  as  stated  at  b,  is  similarly  abruj^t  and  vigorous. 

(f)  The  musical  sense  of  a  tone  is  powerfully  influenced  by  its  location 
and  value  in  the  rhythmic  groujD.  If  it  be  placed  upon  tlie  accented  beat, 
or  if  its  time-value  be  increased,  such  musical  meaning  as  it  possesses 
(absolute  or  comparative),  is  brought  out  with  corresponding  force.  And, 
on  the  other  hand,  its  location  upon  an  unaccented  beat,  or  its  contraction  to 
a  brief  time-value,  diminishes  the  effect  and  value  of  its  musical  meaning. 

(g)  The  definition  of  tonal  meanings,  and  the  bearing  of  the  above  ujjon 
them,  may  be  roughly  stated  thus: 

The  chord-root  is  ijowerful;  the  chord-third  sweeter  and  more  flexible;, 
the  chord-fifth  soft  and  tender.  If  placed  upon  the  accented  beats,  or 
lengthened,  they  impart  these  respective  q'lalities  to  the  entire  rhythmic; 
group  in  which  they  occur. 

The  chord-7th  and  9th,  and  the  suspensions,  are  keen,  conspicuous, 
and  even  obtrusive  (in  proportion  to  the  degree  of  their  dissonance);  if' 
accented,  their  effect  is  heightened;  if  j^rolonged,  the  effect  of  strain  or  ten- 


EXEKCISES   IN   MEIiODY-WKITING. 


123 


sion  is  created.       Appoggiaturas  are  similar,  but  usually  still  more  pro- 
nounced iu  eifect. 

These,  aud  other,  distinctions  may  be  tested  in  the  melodic  examples 
given  in  this  book,  some  of  which  should  be  reviewed  Avith  special  reference 
to  the  quality  of  Expi-essiou. 

130.  The  principal  rules  of  vocal  setting  are: 

I.  That  the  rhythmic  details  in  the  melody  should  agree  closely  with 
the  prosodic  effects  of  the  text;  i.  e.,  accented  syllables  and  important  words 
should  be  set  to  the  comparaiively  accented,  higher,  or  longer,  tones;  and, 
vice  versa,  unaccented  syllables  and  unimportant  words  should  be  set  to 
comparatively  unaccented,  lower,  or  shorter,  tones. 

II.  That  the  emotional  contents  of  the  text  should  be  corroborated,  bv 
consistent  employment  of  the  distinctions  of  melodic  exjjression  above 
explained. 

III.  That  notes  set  to  separate  words  or  syllables  must  be  detached,  in 
notation;  while  two  or  more  notes  set  to  one  word  or  syllable  must  be  con- 
nected, either  by  beam,  tie,  or  slur. 

The  following  examples  briefly  illustrate  these  rules.  The  pupil  may 
find  numerous  others,  in  English  Oratorios,  Cantatas,  Anthems  and  Songs 
(i.  e.,  composed  originally  to  English  Avords): 


Ex.  131. 


1.  Recitative;  pathetic  expression. 

Moderato.  Largo. 

'"^P        ~==^^^^^^^  P  dim. 


^, 


f-minor.    Thy       re  -  buke 


-y- 


Handel. 


:i 


hath       bro    -    ken       his      heart. 


Ex.  132. 


:|fe 


3.  Allegro;  joyous,  vigorous  expression. 
f       .  crese. 


-S— 7- 


Handel. 


f-?- 


-N-f- 


0-^ 


m^^ 


Bb-major.        Ee-joice!      Re  -  joice!        Re-joice great  -  ly! 


Ex.  133.  - 


3.    Andante;  graceful  expression. 
mp 


E^E^3E?ElE^E?E 


hanc  -  ed 


the         charm -ing     sight,         en 


L24 


EXEKCISES  IN  MELODY-WKITING. 

sost. 

— ^ 


Haydn. 


x: 


S 


a(— #- 


hane 


ed 


the 


charm  -  ing       sight. 


LESSON    35. 

The  melodic  setting  of  lines,  and  of  brief  stanzas,  from  churcli  hymn- 
books;  or  from  the  Psalms  and  other  parts  of  the  Bible;  or  from  secular 
poetic  writings.  At  first,  a  few  exercises  in  Recitative  form,  i.  e. ,  not  strictly 
metrical.  Afterwards,  very  numerous  studies  in  metrical  Phrase,  Period,  or 
Double-period  form. 

After  correction  and  approval  by  the  teacher,  they  may  be  harmonized, 
or  provided  with  a  simple  instrumental  accompaniment. 


THE  END. 


125 


TABLE    OF    CONTENTS. 


DIVISION    ONE. 

ESSENTIAL     TONES. 

PAGE 

Chapter  I Majoe.     The  Scale-line,  Regular o . . . .  5 

First  Primary  Kule , 5 

The  Four-measure  Phrase 7 

Chapter  II The  Major  Scale-line,  Exceptional l\j 

Chapter  III The  Chord-line 12 

Second  Primary  Rule 12 

Fundamental  Harmonic  Principles 13 

Rules  for  Single  Skips 15 

Chapter  IV. The  Chord-line,  Continued.    . .    19 

Summary  of  Rules  (par.  39) 24 

Miscellaneous  Illustrations  (Ex.  36) 25 

Chapter  V Minor 28 

Chapter  VI Diversity  of  Rhythm,  Regular 31 

Chapter  VII The  Period-form 34 

Chapter  VIII Irregular  Rhythm 36 

Chapter  IX Exceptional  Semicadences 40 

Chapter  X Syntax  of  Melody 41 

Repetition  and  Sequence,  Exact 41 

Chapter  XI Syntax  of  Melody,  Continued 44 

Repetition  and  Sequence,  Modified 44 

Chapter  XII Syntax  of  Melody,  Continued 49 

Application  to  the  Period-form 49 

Chapter  XIII Altered  Scale-steps,   Major 51 

Chapter  XIV .Altered  Scale-steps,   Minor 55 

Chapter  XV Modulation,  ok  Changes  of  Key 58 

Chapter  XVI Modulation,  Continued 62 

Transient  Modulations 62 


126  TABLE  OF  CONTENTS. 

FAGB 

Chapter  XVII Modulation,  Contindkd 63 

Application  to  Period-form „ 63 

Chapter  XVIII Modulation,  Chromatic 65 

Chapter  XIX Modulation,   Continued 66 

Overlapping  IScale-lines 66 

Chapter  XX .Modulation  in  Sequences,  and  at  Cadences 68 

Chaptei;  XXI Chromatic  Melody 70 

Chapter  XXII The  Double-period  Form 72 


DIVISION    TWO. 

UNESSENTIAL,    OR    EMBELLISHING,    TONES. 

Chapter  XXIII Definition  of  Distinction  between  Essential  and  Un- 
essential Tones 75 

The  Suspension 76 

Chapter  XXTV The  Anticipation 79 

Chapter  XXV. The  Passing-note  (single) 81 

Chapter  XXVI The  Passing-note  (successive) 83 

Chromatic  Passing-note 84 

Kepeated  Passing  note 86 

Chapter  XXVII Neighboring-Notes 87 

Chapter  XXVIII.  . .  .Neighboring-notes,  Continued 9'2 

Chapter  XXIX Neighboring-note  as  Appoggiatura 96 

Chapter  XXX Double-appoggiatura 100 

Chaptkr  XXXI Appoggiatura,  Continued 105 

Unresolved  Neighboring-note 106 

Chapter  XXXII Evolution  of  Melodic  Germs , 109 

Chapter  XXXIII Melodic  Evolution,   Continued 115 

Disguised  Eecurrences 115 

Chapter  XXXIV.  . .  .Melodic  Expression 121 

Vocal  Setting 122 


